/animu/ - Anime & Otaku Culture

I'd say it get's more into the buying the manga.

Scanlation is doing their market research for them, showing them what is popular with the English market. They don't have to risk anything when they pick up a manga with a demonstrable following from the scanlation. If they can't compete with amateurs doing it 4 free they aren't doing a good enough job.

>scanlations hurting mango

very little gained, nothing lost.

nothing lost because a lot of mango was never going to be published abroad anyways, very little gained because of the people who do pick up their translated and unlicensed works only a fraction will buy any merchandise whose profits end up going back to the author. also worth mentioning that once licenses are purchased many scanlation groups will drop the series they were working on.

this question sort of comes down to philosophy too: is the artist producing works only to make money or do they need the audience to hear their story?

>>62846

> is the artist producing works only to make money or do they need the audience to hear their story?

This is always an interesting one, as there are times the one who is out to make money makes a great product precisely because they set out to make money, thus knowing what people want to get said money. Then on the other hand the one who wants to make their story told can be more endearing and meaningful, since it was done to share something to the audience.

>>62799

I never pay for anything. They don't lose a customer in me. If I can't get it for free I'm not reading / watching it. More than enough buyfags around who want to build up an impressive shelf.

>>62799

>paying (((localizers)))

>at best they copy scanlation and pretend they made it.

>piracy is not a service problem

>piracy is lost sales (which cannot be true unless piracy is recognized as a competitor, and therefore a service which people choose instead)

Pick one, only fucking one, and stick to it, duplicitous kikes. Trying to have shit both ways has been the basis of this shit rhetoric for as long as I can remember now.

>>62855

This.

Let the NPC whales handle the buying.

>>62871

The nerve of these (((people))).

>piracy hur-

We've been over this already.

>>62855

>t. poorfag

I don't care about h"elping" the industry.

>>62935

>Most of the music and animu/manga-related stuff I own I discovered through filesharing and wouldn't have bought otherwise.

Same here.

>>62983

>copyright killjoys

>freeloading goblins who will talk trash of anything they may watch, especially what they really like, without ever paying up for the art they're enjoying

Hating copyright doesn't mean I don't buy shit, faggot. Artists and writers still made money before copyright and will continue to do so afterwards, but the jews who rely on buyers not knowing how much their shit sucks will either be forced to improve or quit.

>>63000 (checked)

>implying it wouldn't have been dozens of times worse

people have made tomoko their waifu despite the author's best attempts to make it clear she's a detestable, miserable existence who is constantly living according to other popular people's standards yet at the same time condemning anyone who aspires to rise above their status.

>>62998

Nice authorized post landlubber. I hope you enjoy your approved media at all times.

>>63013

People like her because she's the most realistic depiction of a loser girl. Other people hate her for the exact same reason, I'd reckon. Doesn't hurt that she's cute, either, but I suppose that's a taste thing.

>>63000

>Could Watamote have been saved from its current fate

what happened to it? and no, nips dont listen to gayings.

>>63021

She got a shitload of friends and everybody loves her. I keep hoping the author is setting Tomoko up to be suddenly abandoned by them and utterly devastated but it's not happening.

Why should I pay for manga or anime when I can torrent it for free?

That way I can use my money for stuff like figures or guns.

>Like fansubs for delivering an experience more true to the original intent

>TNs help me better understand japanese culture

>Can finally understand their humour and stories

>Not being a native english speaker, this actually correlates a lot with how my enjoyment of international media changed when I went from watching mostly translated stuff, to finally getting into the english language myself

<"official" subs show up

<deliver close to nothing of the original experience I wanted

<pretty much the same as dubbed shit, but now in sub format

<politics in my anime

<no TNs

I'm thankful to simulcasts, but that is all I can say in their favor. My ideal scenario would be if CR was populated by weebs. Instead, they are SJWeebs. Shit sucks

>>62799

Not only is piracy ethical, but it's a moral imperative.

"The industry" is mostly made up of parasites and middle-men. Very little of what you spend on licensed works will ever reach the creators. The concept of "intellectual property" is tantamount to theft of our shared culture and should be opposed at every opportunity.

>>63095

(((Intellectual property))) isn't even a valid legal concept, it's a forced meme to convince normalfags that thoughts and ideas are property. https://www.gnu.org/philosophy/not-ipr.html

>piracy is a moral imperative

Not unless the publisher is really awful or the original creators have been jewed out of their profits somehow.

>>62846

>do they need the audience to hear their story?

only the stories that are actually planned and doesnt go on forever depending on their popularity.

There are many reasons to pirate.

>you're simply too poor

>shit's too fucking expensive

>you're just a greedy jew

>shit's made by subversive kikes, don't want to give them money but still want to try the product either because it's part of a loved series that got the corporate takeover treatment or because you didn't know they were kikes when you fell in love with it, etc

>you want to make fun of how shitty it is without paying the creator

>the pirate version is superior to the official version

>you want the whole industry to die, not just part of it, so it can go back to being underground

>you don't want to pay for information that can and should be copied freely

>you don't believe in copyright (for any number of reasons)

And so on. Piracy is just better all around. Fuck you jews, I'm not buying your shit no matter what you do. If I can't pirate it, I won't have it. No shekels from me. Additionally, the holocaust didn't happen, but it will.

>>63130

serialization was a mistake, artists should be allowed to end a series when they want rather than being forced to produce endless formulaic garbage until inevitable canning, diluting the quality of an otherwise good series.

at the same time though, people demand an encore and the publishers are all too willing to take their neetbux and push the artists to produce soulless trash.

how would you resolve this? I think one final epilogue chapter is the most you can ask of someone who completed a series to tie up any loose ends the readers may have had, maybe not the month after serialization ends but 3 months-6 months so people have a chance to dissect the work and whittle down their remaining questions. but this also doesn't solve the problem of artists needing stable sources of income, so they'd need to immediately move to another work which will hopefully be as popular as their previous work.

>>63713

>these muh copyright legalese bullshit semantics all started when the (((dmca act))) was implemented

It goes much earlier than that: media jews were throwing similar shitfits over home taping back in the day. The only way to completely avoid this is to kill off copyright and patents forever, possibly trademarks too.

>>63215

>>the pirate version is superior to the official version

This is always true thanks to DRM.

>If I can't pirate it, I won't have it.

I share the same policy. The copyright cartels lost my support years ago. They have shown themselves to be nothing more than soulless profit-maximizing parasites so I'll treat them as such. Copyright law is a perfect example of regulatory capture in action, and if I could I'd abolish it entirely.

>>63717

You can also just kill the jews who push for it.

>>63727

>You can also just kill the jews who push for it.

It's a systematic problem, not a personal one. So long as the opportunity exists, people will exploit it. Even if you killed off everyone involved in the copyright cartels, new parasites would move in and resume the same activities within a year.

Very few people would turn down the opportunity for massive profit with minimal effort.

That's not to say that they shouldn't be killed - only that it wouldn't solve the problem.

>>63238

>artists needing stable sources of income

It's not just corporate pushing serialization. The artists themselves also want it because of this. Even if they make something else right afterwards, there's no guarantee it'll pull an audience. They'd have to do both things at once for a while to see if the other one catches on, and that's not going to be possible with your average nip artist's schedule.

State-sponsored art grants are also a shit idea, that's how you get modern art and Uwe Boll.

Patreon may just be the ideal system, and that's also cancer if you look at /htg/. The Renssaince's patron system has a pretty good track record: Artists as craftsmen that are paid partially upfront, with the rest upon satisfactory completion of the buyer's request. But that way, only the (((rich))) decide what art exists.

>>63785

Personally I'd just do the following:

Give everyone a UBI so the "starving artist" problem goes away.

Abolish copyright law entirely.

Let individuals choose to donate money to reward artists they like.

A UBI might be a hard sell in the current political climate, but it will be essential for the survival of the non-(((capitalist))) classes within 100 years.

Patreon is a horrible model because, without widespread leaking (which can be strongly discouraged through technological measures) the quantity of art available to any individual is incredibly limited. The day all the fan artists switch to patreon is the day fan art dies.

>>63788

Artists are at their best when nearly dying though. Artists that live a comfy live will never produce good things.

>>63790

>Artists are at their best when nearly dying though.

As an artist I don't think this is true, nor does it align with my observations of other artists.

Usually when an artist has problems in real life, one of two things happens:

1. They stop producing art and focus on solving their life problems.

2. They start accepting commissions from furries to draw retarded OCs.

I've even seen good artists start producing shit just because that's what their patrons ask for. As with a lot of things, the most profitable kind of art is rarely the most skillful or spiritually fulfilling.

Daily reminder.

https://gizmodo.com/the-eu-suppressed-a-300-page-study-that-found-piracy-do-1818629537?fbclid=IwAR3uTVy_i1OEtn_1sn1-x5AtRIN-qovH4JpCEvAJxz5-iO5-DTxIUVKcRB8