![]() Rawr! We’re approaching our three new titles with confidence, but we’re open to strengthening our fresh procedure with the addition of Apricotsushi! With the arrival of our first full package of three titles– Tweeting Love Birds volumes one and two by Yamamoto Kotetsuko and Want to Depend on You by Kinoshita Keiko–we’re now go-go-go, like a wild seme on an unsuspecting uke. Healing Music gave us clarity toward: our roles as editor and letterer our needs regarding our new translator and finally, our expectations of DMG. Not only did it breath fire back into our dampened spirits, but it also allowed us to learn the pitch and tone for our unique BLBangBang procedure. When DMG offered a special project–a single title, already translated–she swiftly thrust herself up, and, over the sound of her chair clattering to the floor, she screeched happily: “PICK US! PICK US!” This project was Healing Music by Kaiya Tatsumi it proved positively perfect for us. This autumn, Apricotsushi, our translator, landed in our laps with a deliciously alluring squeal, and we gelled into who we are today: a fun-spirited, supportive, working team of: Alexandra Gunawan (Al), our group leader and letterer from the United States Kimberly Lammens (Dutchie), our editor from Canada and Anne Whittingham (Apricotsushi), our translator from Australia.ĭuring our period sans translator, Al didn’t bow to Lady Luck rather, she kept vigilant herself. (Sounds kinda dismal so far, no?) We were saddened, but in comparison to setting up even the most conventional of new businesses, BLBangBang’s formation and partnership with DMG was bliss–full of eager people from both parties and reasonably smooth transitions. We had trouble firming up our group roles. ![]() We were ready for any genre, any mangaka–we just wanted to help with quality English manga availability. DMG staff had to reunite all these lonely contracts into the BLBangBang family before any project assignments. Combined, our contracts flew over waving whitecaps, trucked down dusty roads, and weaved through rocky escarpment forests. Next queue: DMG requires each member to send in their contract as a hard copy. Finally, we were sent our contracts BLBangBang put on its serious hat for contract discussions and group planning. I reread my grammar and style books and went through three shelves of my favourite manga before our individual approvals were completed and our members were linked. After submitting our qualifying tests, we had a considerable wait. Our original group members were all part of the experimental first wave of people applying to DMG. Understandable, but incredibly frustrating! Here was a brave and exciting promise: one that demonstrated awareness and appreciation of fan motivation and wanted to work with the long proven power of active enthusiasts! ![]() ![]() ![]() So, I’m gonna strap on the leather restraints and divide this journey into four categories: group formation DMG interaction the working process and group interaction and beliefs.īoysLoveBangBang, or the shortened version BLBangBang, was not without its set up discouragements, both from DMG itself and from within our group.Īfter announcing their-somewhat vague-comic guild idea, DMG needed time to define both their potential and procedures before attempting to clear the air for everyone interested in joining the guild. Today, not only am I excited about Digital Manga Publishing’s (DMP) unprecedented business model, the Digital Manga Guild (DMG), but I also want to share my personal experience so far with my localizing team, BoysLoveBangBang, and DMG. When I’m excited, my thoughts bubble up, suddenly exploding en masse. Editor’s note: While my own DMG experience has been stalled due to the disintegration of my localizing group (soon to be restarted, more on this soon!), the active group BoysLoveBangBang has agreed to share with us their Guild experience! Thanks, BLBangBang! – MelindaīoysLoveBangBang: Our Digital Manga Guild Experience ![]()
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