Mykurr

I like anime and manga and video games.

[Mykurr @Mykurrr]

Media 2026 thread (we doin this)

[- Booster_seat87 - 2% 🆓🇵🇸 @Groosenator1985]

A true gaidenhead can see the beauty of this map and its enemy placement while a conquesthead cries

[Ferar 🇧🇷 @ferarironing]

Is there a single good sonic song with natewantstobattle or do they all have to sound like kindergarden naptime song per contract

[Mykurr @Mykurrr]

I wish I could like this more I genuinely never liked his Nathan sharp’s voice

[Sonic the Hedgehog @sonic_hedgehog]

Surprise! Enjoy a brand-new song from @Crush40's Jun Senoue, NateWantsToBattle, @TeeLopes, and Takahiro Kai created to celebrate 35 years of Sonic: "Speed is My Life."

[Mykurr @Mykurrr]

@TheTristantine @Gumidess Naww, sparky 2 and 3 actually play like 3D platformers. Heck even pennys big breakaway and the upcoming rollin rascal actually has you interacting with the actual platforms

[Mykurr @Mykurrr]

@zebruder From what I’m reading here I feel like it simply being a shounen is what’s filtering you out since it has to make absolutely sure that a middle school teen can be invested in the narrative around rakugo rather than letting the setting sell itself

[Mykurr @Mykurrr]

@MatiasAlme98777 @zebruder @AnhurdynPlus “Watch bad media”

Nah, I think I’ll keep my standards instead

[Anglo Defender 🇬🇧 🇦🇺 ☩ @AngloidDefender]

@Liam91250130 @mf_blonde Melbourne but fill it with Sydney finance bros and north shore soccer mums instead of insufferable Victorians and communists would be so elite

[Mykurr @Mykurrr]

They just admitting that the games never mattered, it’s just wanting to be in the “conversation”

[K.A.R.S. @Kars2B]

@Beaannnns Ah nobody is entitled to play the newest games but you also can't join in the conversation in ANY way unless you played the games. That's real fair man thanks

[Boichi @Boichi_Bo1]

In 2016, I received an email from an aspiring manga artist in Morocco.

It began like this:
“I want to become a mangaka, but there is no manga publishing industry in Morocco.”

Many people around the world love manga and read it, but when you look globally, there are many countries where manga is simply not published at all.
In some places, there is not even a publishing system(including publishing, translation, and distribution) in place.

Even where books exist, the infrastructure for printing, distribution, and bookstores is often lacking, making it very difficult for a true industry to develop.

Telling manga fans in those countries, “Your country has a relatively high GDP per capita, so you should buy manga,” is meaningless if there is no actual way for them to buy it.

That is something I find deeply painful.
Why is it that the manga industry has not been able to properly serve those regions?

Even in countries where publishing exists, manga books are often too expensive.
The price of a single tankōbon book is $ 15 to $ 20, which is high even in the United States, especially when today’s digital entertainment offers so many alternatives at much lower prices.

So, this is why I believe the future of manga is clearly not limited to print publishing, but must include digital services—manga that can be enjoyed in a reasonably accessible and affordable way.
If such systems are established globally, I believe the manga industry could grow dramatically.
In North America alone, a tenfold expansion would not be unrealistic.
Even countries without any publishing tradition could develop sustainable manga industries.

Once official digital services exist in each country, they can generate tax revenue, and governments can more seriously address piracy.
At that point, creators and aspiring manga artists can also demand proper enforcement and protection.
Most importantly, it would create opportunities for local aspiring manga artists.
And those opportunities would, in turn, strengthen the global industry as a whole.

When a country’s manga ecosystem develops properly, it becomes a cultural export industry.
From a government perspective, piracy then becomes something that can and should be actively addressed.

The first people to pay for legitimate manga services will, in many cases, be the very readers who once relied on piracy. They are not enemies of the industry—they are its earliest supporters in waiting.

Pirated manga readers are not our opponents.
They are our future audience.
They are proof that demand already exists.

In late 1990s Korea, manga piracy was widespread, and attitudes were often very hostile toward paid content.
Many believed that paying for manga was unnecessary, or even that the industry itself should not exist.

At the time, Steve and I did not fully understand this.
We were wrong in many ways.
But later, when proper legal services were introduced in Korea, readers were more than willing to support them. They paid for content gladly, and the Korean webtoon industry grew stronger, eventually becoming a major source of IP for film and television.

We learned, through experience, that the joy of not paying cannot compare to the deeper satisfaction of supporting and sustaining the culture you love.
Piracy users were never the enemy.
They were simply manga fans.
And all manga fans, in the end, are on the same side.

Through our mistakes, Steve and I came to understand this more clearly.

What needs to be done is simple: build proper digital manga services.
Ensure fair pricing.
And most importantly, help each country develop its own manga ecosystem.
Because only then can a truly global manga industry exist.
And only then can the works we create truly reach the world.

To be continued...

[Mykurr @Mykurrr]

@onlysmartbrain @kugal876 Fates conquest specifically tbh. Birthright and revelations are poopoo

[IY @IY_02496]

That's the beauty of it bro, we study the source material, page after page, book after book... They won't even know we're actually larping...

And when the questions roll in, we use that knowledge to our advantage and we can keep posing like nothing even happened...

[SigmaSyndikate 🎮✏️🎨 @SigmaSyndikate]

The main villain of Persona 4 is literally someone who blames all of his problems on larger societal structures and refuses to look inwards and recognize his ability to connect with others or change for the better.

Arguing for a targeted critique of Walmart is like arguing Joker from Persona 5 should've become Prime Minister. It's almost antithetical to the point.

[Mykurr @Mykurrr]

@uchuushelf Didn’t the first season end with the main character fully accepting the system anyways

[Mykurr @Mykurrr]

@townmenace23 @jcr3ative I wish they didn’t add IDWSlop into the game

[Mykurr @Mykurrr]

@Stealth40k This should’ve been the actual FF16 tbh. Still not too late to rename it as FF17

[Kafonn @Kafonn_]

I dislike how disingenuous the comparisons have been with these 2 menus

why can yall conclude P4Gs uses CRT imagery to design its menu but the only artistic analysis yall can think of for P4R is "its the P5 menu but with Yu instead of Joker" like how can you not see it for more

[Mykurr @Mykurrr]

@Slyck68 @senny_mathis Sacred stones sold quite well for the time tho

[Mykurr @Mykurrr]

@PunishedErik @xaiver776 Hidari’s artstyle was so godly to me it got me into playing the atelier dusk trilogy

[Mykurr @Mykurrr]

@slime_machine You didn’t fw atelier karia?

[Mykurr @Mykurrr]

@AlbarnsDemon Literally play any other JRPG, because that’s exactly what P1, P2IS and EP are effectively is to P3-5, a different series entirely. 5 was already a huge shake up from 4, anything beyond that is jsut asking for a different game with the same brand name.