King’s Viking ATM arc

IT Support

This page is mostly thinking aloud / discussing what is actually going on in the technical side of Kings Viking in the ATM arc. Word of warning: I’m not a professional in this field, so take everything with a grain of salt. The broad overview is that the VPN server the ATM uses to connect to the bank is extremely outdated and full of vulnerabilities, allowing a hacker to exploit it and conduct unauthorized transactions. Going into more technical detail… It would seem that the hacker spoofed the entire network that ATMs connect to the bank with, harvested data from people using the ATMs, then went to an ATM and had his server send queries to the real server based on the information he gathered from people using the ATM (I’m not sure if the money is being taken from the bank’s accounts or the accounts of the people who used the ATM before. It’s kind of unclear since there’s the picture with the absurd amount of money as a “balance” at the ATM, although Koreeda does explain it as if it’s from the people who used the ATM before). I also guess this means that the server was so old that it wasn’t using encrpytion for some reason (which it honestly should have been, even back then), or the hacker was skilled enough to break the encryption.

Moving on to what Koreeda is doing… He learns about the outdated VPN service in his trip to the Systems company, and then sets out to find the attacker. Koreeda is seriously bad at explaining things, and we more or less translated exactly what he was saying. When he says “he basically turned himself into an ATM”, (Arc 6 Chapter 5) he probably means that from the Bank’s point of view, the spoofed server the attacker is using looks like an ATM. He’s now going to do the same thing that the attacker is doing, which is “pretend to be an ATM”, baiting the attacker to be essentially attacking Koreeda as well when the attacker attacks the ATM network. It’s not exactly clear how he does it (whether by just joining the network as a new ATM, or picking an ATM in the network and intercepting communications to that ATM specifically, probably the latter), but it seems pretty reasonable given that he’s just doing what the other guy is doing. Once the guy attacks the network, Koreeda backtraces him because Koreeda can do that, and I’m guessing based on watching how the guy operates, he plans on catching the attacker in the act when he goes to collect the money from the ATM.

Now this part is interesting. Koreeda doesn’t actually have a way of knowing which ATM the attacker is going to target. The attacker is collecting all that customer information from the ATMs, but there’s no way of telling from that which ATM the attacker is going to target to collect his cash. This gives him two options, the first being he middlemans between the spoofed server and the real bank server, meaning he’ll intercept the attacker’s command to withdraw money from the ATM, and find out which ATM it is based on from what device the command claims to be from. How he recognized that it is the attacker’s command isn’t all that clear, unless it’s just a dirty attack that the system allows but honestly shouldn’t since someone looking at it can recognize it’s obviously an improper transaction. The other one would be middlemanning between each and every ATM to the spoofed server, so he’ll see which ATM is being asked to conduct the illegal transaction. He can’t just take over a single ATM, since this attack won’t be sent to every ATM, only the one he wants to do his bidding. Given how in Arc 6 chapter 6, Koreeda says he will be impersonating ATMs, he’s probably doing option 2. There probably aren’t that many ATMs, since the attack is limited to 2-3 marts in a certain district, so I guess it isn’t as insane as it sounded when I described it earlier. He’s basically just doing what he did earlier in order to detect the attacker, except with more machines.

The arrogant old dude from the cyber division’s comparison of Koreeda doing this as being comparable to suddenly being able to speak Russian simply from listening to other people speak Russian isn’t entirely on point, but it’s a pretty cool description. He only really needs to be able to pass batons back and forth. Attacker tries to send data to the ATM, Koreeda receives this data, and has to send the data forward to the ATM while looking like the correct server without messing up the format/anything else, and then take the data that the ATM tries to send back to the server, and pass that data back to the attacker/server. Anyway, Kings’ Viking is the best manga I’ve worked on (yes, better than Grand Blue). Thanks for reading.

Grand Blue – Deviation Value

Context: There was a mathematical term used in the manga that is only really used in Japan. This blog post is mainly to explain what it is. The line is located on the cover page of Chapter 37 (above the title). We used Love Quotient in the end instead of Deviation Value, but I think the concept is interesting still.

Deviation Value:

Deviation Value is a mathematical concept used in Japan, primarily by the education/school system. It follows the same statistical concepts of z-scores that we use in the western world, but has a slightly more specialized formula. There’s going to be a lot of math, so if you’re only interested in translation-related stuff skip to the end. TL;DR: Deviation Value is Z-score with mean 50 and standard deviation 10.

The formula is as follows:


Source: Wikipedia Japan

The formula we use in the rest of the world to calculate Z-score is

Standard Score Calculation

(taken from

Described literally, a Z-score is the number of standard deviations an individual value differs from the mean. For example, a Z-value of 0.66 would be described as “0.66 standard deviations to the right of the mean”. Z-values typically vary from -4 to 4, since 99% of values fall within this range. The score is used to identify where an individual value falls within a sample, or to find the interval where a certain percentage of the sample falls (for example, top 10%). These percentage values are generally found through consulting a z-score table such as this.

Image result for z-score table

As you see, this table only goes up to 3.49 since that covers most values already.

It appears that Deviation Value is essentially the same thing as a z-score, except standardized to be centered around the value 50, and one standard deviation = 10 DeviationValue. Essentially, to convert from Deviation Value to Z-score, we use the formula

Z-score = (DeviationValue-50)/10

I’m not entirely sure why the Japanese use this system. Maybe it’s easier to think with factors of tens in Japanese, rather than having decimal numbers.

Moving on to the translation, the phrase we had to translate was 恋愛偏差値25野郎どもの現代神話!. There are a lot of interesting things going on this phrase, mainly in word choice.


Literally means “love”, however it is being used as the “field/subject/population” in which these idiots fall 2.5 standard deviations below the average.


Converting a Deviation Value of 25 into Z-score:

Z-score = (25-50)/10 = -2.5 -> bottom 0.0062%

Localization would use z-score. Lit. translation would use deviation value. Liberal would maybe try using bottom 0.0062%.


This is kind of a generic insult/moniker. Due to the series, I think “idiots” is appropriate, although maybe a bit liberal.


It’s a bit clunky, but I want to keep the exact phrasing of “modern-day legend”. I like respecting the author’s word choice.

Putting it all together… I tend to pick and choose from different styles to get a line which sounds nice in my head.

A modern-day legend of idiots with a Z-score of -2.5 in love!

This is what I first came up with, although I’m a bit uncomfortable because of how the phrasing ‘in love’ works. This can be parsed as “A modern day legend of idiots with a Z-score of -2.5, now falling in love!”, when the actual meaning of the line is that these idiots are terrible at love. (The wording of love is awkward in general to be honest… ugh). This is when I learned that there was a T.V show called 恋愛偏差値, or “Love Quotient” in english. I don’t believe that the line is an actual reference to this show(since I believe it is a statistics joke), but we can borrow that phrasing since it isn’t half bad! (People can come read this long ass translation note if they care about the finer details).

“A modern day legends of idiots with a love quotient of 25”!

I really want to use Z-score since it adds to the theme of the chapter, but it’s a bit difficult to fit into a nice-sounding line in english.

Bonus: Measurement Error.

I wanted to go with Systematic Error, which is a more precise term for this kind of measurement error. Kenji describes it in the script as “the error that occurs when measuring values that are smaller than the gradient markings on the measurement device”. Our PR viewed this as a resolution error, while I view it from the point of view of “human error”. I believe the difference between analog and digital measuring devices is the removal of human measurement from the equation that makes the digital measurement more accurate. Both of these kinds of errors exist though, so it is essentially an argument about nothing in the end. In the end PR wanted measurement error since it makes more sense to the layman. I like Systematic Error a lot more since I believe it would lend to the tone of the chapter more, but it’s more or less the same.

Although short, this is one of the better chapters in my opinion.

A Story of Mangaka and Contracts <- Source

The following is a translation of a blog post made by Shuuhou Satou, author of the award winning Say Hello to Black Jack in regards to Mangaka and the contracts they have with their employers.

A story of Mangaka and Contracts

By Shuuhou Satou

The other day, I was asked by a newbie trying to enter the manga scene: “When attempting to serialize a new work, what is the market rate for a standard serialization, and what kinds of contracts will I require?” As a newcomer to the scene not yet familiar with how our world operates, I believed they wanted to know what and how far they should push for when negotiating with publishers. I met and spoke with them about various things, and since I believe that this is important information for budding artists who intend to become mangaka in the future, I will reproduce my thoughts here.

First, let’s talk about market rates for standard serializations.

Compared to ten years ago, the rates for serializations have gone down. I do not know the rates for every serialization in every single publishing company so I cannot claim to know the exact details. However, I have heard tell that even at major publishers, newcomers are only paid around US$50 per page (even for color pages!). This is, on average, more than $10 less than what it was 10 years ago. In the past, a newcomer would receive a minimum of $70 per page for a magazine serialization. Today, however, it feels like the market rate is about $50 to $60 per page. There are a few editorial departments who will pay over $100 per page, but these are few and far between.

These numbers are only accurate when discussing magazine publishing companies. Recently, the amount of manga being published for reading through the apps of web-based publishing companies has increased, and they pay even less. A certain well known app beginning with ‘C’ pays $500 per chapter. In the event that there is an artist as well as an author, they have to split the $500. Monthly publisher ‘G’, despite having a quota of dozens of pages, pays a fixed sum ranging from $1000 to $2000, with potential bonuses of a few hundred dollars more if the manga proves popular.

Essentially, neither serialization in magazines nor on web applications will lead to very much money, and the pay might not even be enough for your living expenses. It is possible to lock yourself in your room and keep working, intoxicated on the image of yourself working as a professional mangaka despite not making any money, but sooner or later you will burn yourself out.

As for the necessary legal contracts, I believe that the following three types of contracts are the ones most typically used in the industry.

The first are the types you make with the publisher (or tech company).

The second are made for working with other staff members on a project.

The third are the type made between the author(s) and artist(s) in the event that there is more than one creator involved.

I will provide example templates of the contracts I typically use below. The first examples are the contracts made with the publisher (or tech company). There are usually two kinds. The first is the writing contract and the second is the publication contract.

First, the writing contract.

[Looks like a standard employment contract although specifically related to making manga and stuff]

This contract details the methods for receiving payment when your work is serialized in the magazine (or application), as well as the responsibilities related to publication. It may be difficult to imagine for those who work in normal companies, but in the manga world, it isn’t unusual to have cases where the editing department makes an artist draw a chapter, and then decides to neither publish the chapter nor pay the artist. “Pay up! Publish my work! No cancelling the series until this contract expires!” That’s the kind of contract this is.

At the moment, no publishing company is willing to provide a sample contract. The typical business process (aka common sense) of “Commission -> Quote -> Contract -> Order” does not apply to publishers. The artists themselves have to go to the publisher and ask for a “writing contract”. It is natural to wonder, “When will we negotiate the contract?”, when talking about serializations. However formal contracts are not the norm, so please request for one yourself. Doing so will likely shock the publisher and make them wonder, “Where did he find out about that?!”

Next up is the publishing contract, which is necessary in the event that your serialization has been progressing smoothly and has been selected to be released in volumes. In this case, it has become the norm for publishers to present a contract. As the contract differs from publisher to publisher, I won’t post examples. It mainly discusses giving the publisher exclusive rights, royalties, adaptations, commercialization, and secondary use rights.

The most critical thing to keep in mind when negotiating this contract is that you are signing a publishing contract, with the publishing referring to that of print publishing only. You must ensure that you do not allow the publisher to monopolize the rights for electronic publishing or secondary use. The publisher will also want electronic publishing rights, as well as the the freedom to manage secondary use rights as they please. It makes it easier for them to manage as well as to make money.

The basic contract they provide will of course contain clauses which surrender these rights to them, which is why it is important to request beforehand that such clauses be removed from the contract. It is absolutely critical to limit their rights to print publishing only and to keep the rights to manage the branding of your series for yourself.

Is it really possible for a newcomer publishing their first work to make such a request? It is.

I conduct all of my communication with my editor through e-mail, meaning all business negotiations are also done through email. This has the benefit of leaving no opportunity for “he said, she said” arguments in the future.

Carrying on. While newcomers are indeed able to request this, whether or not the publisher accedes is another story. Print publishing is a declining industry, so they will be reluctant to give up any rights within their reach. Even if you attempt to compromise by saying, “Okay, I’ll give you management rights in exchange for a higher royalty fee for electronic publication”, they will be unlikely to budge. Do your best.

The editor-in-chief and assistant editor-in-chief will come out in order to persuade you. If you still resist, they will begin to say things like, “You’re the only newcomer demanding things like this”, “We can’t give you special treatment”, “It sounds like you’re saying that you don’t want to be serialized at all”, and “How dare you bring this up now, after all that we (the editing department) have done for you? That wasn’t part of the agreement.” in order to gently intimidate you.

Through this you will learn that the manga world is not one filled with dreams, but a system with a carefully managed balance of power. Whether or not you allow yourself to be chained down by it is up to you.

Additionally, it is quite rare for a publishing contract to be signed at the beginning of serialization. Publishers want to release volumes if the product becomes popular. However, they don’t want to shoulder the risk if the product isn’t popular, meaning they will hold off on signing a contract until the last minute. This means that newcomers will continue to create and publish their work without knowing whether or not volumes will be released. Still, it is probably better to consider the fact that contracts are being offered at all as a move in the right direction. Of course, you can also request a publishing contract at the beginning of serialization. If you do so, then they will say things like “You’re the only newcomer asking for things like this” to gently intimidate you. If you are interested in enlisting someone to assist you in these negotiations, please contact me. I can introduce you to a professional.

Next up is the project staff contract.

In the event of a weekly serialization, it isn’t possible for one to draw everything on your own. You will need to hire employees to help with drawing backgrounds or adding finishing touches. Until now (and currently still going on), artists do not form contracts with their employees and operate something along the lines of a “master-student” relationship with a clearly defined chain of command.

However, Japan has a Labor Standards Act, which means that you are not allowed to order your staff to do whatever you want simply because you are paying them. Imposing deadlines and quotas, on-scene instructing, and supervision falls in the realm of “employment”. The basis of employment is no more than 40 hours a week. There must be a minimum wage and, in the event that overtime work is required, an overtime wage must also be paid. There are few cases of these rules being upheld in the manga world. Although people may argue that “everyone does it”, it doesn’t change that fact that what is going on is illegal.


Essentially, if you intend to employ people, then you must abide by the laws described above as well as provide for Job Insurance and apply for Social Insurance. Honestly, this is a bit too much for a new mangaka to handle.

With this in mind, I believe the sort of contract a newcomer will be capable of fulfilling is one like below.

[From what I read, it contains mainly NDA stuff, what the employer must do, and payment]

The job description section lists the details as “All work related to the management and design of a website and web magazine” since the contract I found was one for a third party web designer. In the case of project staff to assist with manuscripts, the job description would be changed to “All work related to manuscript production”. The idea is to avoid employing them as an employee, but as a third party independent contractor.

If one does this, then there is no longer to need to apply for Social Insurance. However, since you are now working with an independent third party contractor, you can no longer demand the ability to impose deadlines in addition to quotas, give on-scene instructions, or supervision.

The contractor is free to work where they please, and complete the work that they are capable of completing within the time specified in the contract.

“Complete drawing all assigned pictures” does not fall under “capable of completing in the time outlined”. As long as they work diligently, you are not allowed to demand that they finish everything in the time allotted in the contract. It is of course also inexcusable to force them to work overtime or stay up all night working. As there is no employer-employee relationship in place, you aren’t allowed to demand very much.

If this is still “impossible” to do for you, then in order to make it doable, you should request a higher commission fee from your publisher as well as higher royalties. You will be gently intimidated. It is up to you whether or not you wish to have your staff work in an illegal manner.

An NDA is also mandatory. While it isn’t a fun conversation to have, in the past, employees of mine have stolen client information and made use of it for business purposes after leaving. Their cases are still under way.

Finally, we have the contract between the author(s) and artist(s) in the event that there is more than one party involved.

This contract is the one used by our web magazine (Manga on Web) in cases where multiple people hold the rights to a single work. The royalties paid to the author/artist are decided on a case by case basis. These guidelines are laid out in advance to prevent problems from occurring in the case that the two parties don’t agree on something. Discordant events between the two such as the writer deciding on his authority alone to make a movie adaptation, or the artist creating a sequel without consulting the writer at all occasionally do happen. When a project becomes a success, everyone wants to claim it for their own. I’ve experienced this for myself in the past.

This contract is typically not provided by the editing department, so the artist and the writer must negotiate directly with each other. This means that the two must be in contact with each other, but the editing department typically does not wish for writers and artists to have contact with each other. Writers and artists tend to have grievances with each other’s work, and when they make direct contact, it isn’t uncommon for issues to appear. “Your story is boring.” “You should draw properly.” Even worse, the two could conspire together to revolt against the editing department. As such, it is common for the two to not have each other’s contact information. It’s a good idea to forcefully attain each other’s contact information before serialization at the introductory meeting.

And this concludes the information you need to know about the minimal contracts that are necessary when desiring to present your work to the world through a publisher. Although I’ve written about all of them here, it is impossible to exercise the use of all the contracts listed here. If you attempt to, you will become reviled just like I am. I have even come to dislike myself for having explained these things to newcomers.

I also can’t say “then just cheat”, which makes things even more irritating.