✞︎CLФVΞЯ MФФИ✞︎ 🍀🌙

Love sunny days

[Miku @HatsuneMiku]

GET OUT OF MY HEAD…
GET OUT OF MY HEAD…
GET OUT OF MY HEAD…

[【公式】アストラエ・オラティオ @Asora_JP]

【特区庁広報課からのご案内】

キャラクター紹介PV公開
「都市、星、そして魔法――」

YouTubeで「キャラクター紹介PV」をご覧いただけます。
https://t.co/B9F0tg6yUj

▼公式サイト
https://t.co/0Scj3NtG3R

#AstraeOratio #アストラエオラティオ #アスオラ

[말자 / Malja(ART in G) @mpra4332]

너무너무 뇌리에 박히는 디자인이라 허락도 없이 팬아트 그림
문제가 될 시 내리겠습니다
근데 너무 멋있어요 (인용 타래에 리미널 스페이스 얘기 나오는거보고 이마를 탁 침)

[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...

[海島千本🐟 @Kaisen_Tobiuo]

🎶🥕𝒗𝒆𝒈𝒆𝒕𝒂𝒃𝒍𝒆𝒔🥬🥦

[忘却図鑑 @forget_jpeg]

p8606

[峰倉かずや @kaz_minekura]

追悼 御守リツヒロ先生

こんな私を「憧れだ」と言ってくれたんですよ
最遊記のアンソロやスピンオフまで進んで執筆してくれて
とても可愛い後輩なんです

まさか私より先にだなんて、こんな理不尽な事があってたまるかと

でもまずは
力強く走り抜いた作家・御守リツヒロ先生
お疲れ様でした。
またね

[Triage 🔜 CanFURence @tri4geart]

I am putting together a list on the Internet Archive of free PDFs of art books coverinng a wide range of topics. Now go study your shit straight from the sources 🫵
https://t.co/OQyBibi2Gf

[峰倉かずや @kaz_minekura]

【最遊記×Hondaバイク】POP UP SHOP

本日より博多会場がスタートしました🏁
コラボバイクやスタンドポップの他に、天井まであるドでかタペストリーも展示中ですのでお近くの方は足を運んでみてください🙏
詳細はコチラ→@1jin_syk_info

▼新規の直筆色紙です。
会場内に展示していただいてます。

[echerry @eCherryArt]

No AI. I made these with Aseprite and too much of the cheapest coffee I could find

[Debjit Dutta @DebjitDuttaart]

Heavy Machine
Couple of artworks from an old project.

[Ataririri @Ataririri]

Past works

[Mira࿐ @miraii_art]

One day, I will get paid for painting backgrounds and quit my 9to5 job TT

[WLOP @wlopwangling]

Cone of Fate

[あすてろid @asteroid_ill]

ラティオスとラティアスの寄り道

[ななし @fv5b9x]

無限ピカチュウ