prettysavage.mk

Sunset Magic

[prettysavage.mk @deanvicci]

@naoyafukushi Awesome picture

[prettysavage.mk @deanvicci]

@ShinyaMatsui Apoyo esta moción

[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...

[Jokker @0xJokker]

AMD ACABA DE MATAR LAS SUSCRIPCIONES DE IA

La CEO de AMD Lisa Su presento oficialmente una PC del tamaño de una lonchera y ejecuto en vivo un modelo de 235 mil millones de parametros

Sin centro de datos. Sin nube. Sin GPU alquiladas

El chip en su interior es el AMD Ryzen AI Max+ 395

Es el primer chip x86 en el que la CPU y la GPU comparten el mismo bloque de memoria

Hasta 128 GB de memoria unificada

Una RTX 5090 te ofrece 32 GB de memoria de video

Una 4090 te da 24 GB

Pero esta pequeña maquina te ofrece mas de tres veces la memoria de cualquiera de ellas

Y cabe en una mochila

En inferencia con DeepSeek R1 le gano a una RTX 5080 por 3x

Una desktop del tamaño de un libro grueso superando una tarjeta grafica de mas de mil dolares en una carga de trabajo real de IA

Ahora haz las cuentas de tus suscripciones

Claude Code Max: $200 al mes
ChatGPT Pro: $200
Cursor: $20
Gemini: $20

Son $5,280 al año antes de construir una sola cosa

La version de 128GB de esta maquina cuesta entre $1,800 y $2,500

A ese ritmo se paga sola en menos de un año

Y despues corre sin costes adicionales, GRATIS

> Instalas Ollama
> Bajas Qwen3 235B
> Apuntas Claude Code a localhost
> La misma interfaz que ya usas
> Nada sale de tu maquina
> Nada cuesta por request
> Sin limitaciones a las 3am cuando por fin tienes tiempo para construir

Los abogados dejan de preocuparse por lo que OpenAI hace con sus archivos

Los developers dejan de ver el contador de tokens

Los founders dejan de matar prototipos porque la factura de la nube los asusta

La IA local ya no es solo una opcion mas economica

Es la unica IA que nadie puede quitarte

Y la pregunta ya no es si la IA local es lo suficientemente buena

Esta claro que si lo es

La verdadera pregunta es por que seguir pagando suscripciones cada mes cuando puedes correrla tu mismo

[Animetrends @AnimetrendsLA]

Boichi, el autor de "Dr. STONE", afirma lo siguiente:

«Los lectores de manga pirata NO SON NUESTROS ADVERSARIOS. Son nuestro público futuro. Son la prueba de que la demanda ya existe».

Boichi explica que muchos fans del manga en todo el mundo aún carecen de acceso a manga legal porque algunos países NO CUENTAN con infraestructura editorial, sistemas de traducción ni redes de distribución.

«Decirles a los fans del manga en esos países: "Deberían comprar manga", no tiene sentido si no tienen forma de adquirirlo».

Sostiene que los servicios de manga digital asequibles son clave para expandir la industria a nivel global y crear oportunidades para futuros creadores.

¡LO ENTENDIÓ TODO! 🙏

[Toei Animation Latinoamérica @ToeiAnimationLA]

¡No podrían faltar en nuestra colección! 😍
✨ Comenta cuál de estas estampas te gustaría tener.

#LosCaballerosdelZodiaco #SaintSeiya

[prettysavage.mk @deanvicci]

@yolopark Worldwide license please

[prettysavage.mk @deanvicci]

@DamienTempest Interesante teoría, veamos qué sucede 👏 👏 👏

[prettysavage.mk @deanvicci]

@boomerangsaucer How time flies! 👏 👏 👏

[prettysavage.mk @deanvicci]

@universosaintse Serán proyectos o solo artículos (figuras)?

[Pirat_Nation 🔴 @Pirat_Nation]

Former Japanese television presenter and YouTuber Kanon Aoki has warned that X’s automatic translation tool is damaging Japan’s international reputation as a polite and harmonious society.

She explains that the feature now exposes blunt or negative online comments from some Japanese users to global audiences, revealing opinions on topics like tourism and cultural norms that were previously hidden by language barriers.
Via @FujiNews_

[マンガ編集O氏 MangaEditor@KADOKAWA @editorO8823]

¡Hola a todos! Soy un editor de manga de Japón. 🇯🇵📖

He publicado una traducción al español de un manga japonés pensado especialmente para todos los amantes del género en Latinoamérica y España. Es la historia de una elfa que crea libros. ¡Espero que les guste mucho! ✨🧝‍♀️

Les cuento un secreto: cuando era estudiante, viajé por Latinoamérica durante casi dos meses. Recorrí Chile, Bolivia, Perú, México y Cuba, y en cada lugar recibí la ayuda de muchísimas personas maravillosas. Por eso, ahora me encantaría devolverles un poco de ese cariño a través de mi trabajo. 🌎

[Ivrea Argentina @ivreality]

🔴 SAINT SEIYA - RERISE OF POSEIDON: SERIE DE 4 TOMOS - FORMATO B6 CON SOBRECUBIERTA - A LA VENTA: NOVIEMBRE

[prettysavage.mk @deanvicci]

@teshi_kuro413 Amazing art. Please never stop drawing.

[prettysavage.mk @deanvicci]

@DamienTempest Quizás las peleas por la armadura de oro fueron para promocionar la venta de figuras Saint Cloth Series de los dorados?

[prettysavage.mk @deanvicci]

@SakuraStaardust @higekousan Hi, Were you lucky enough to get the recording?

[奥 浩哉 @hiroya_oku]

GANTZ:Oは僕の今までメディア化された作品で一番原作の持つ理想の表現を実現してくれた作品です。僕の漫画が好きな人は是非GANTZ:Oを観てください。僕は50回以上観てます。

[☆Ira Furoris☆❤️‍🔥ℰ𝓉𝒶 𝓈𝒶ℊ𝒾𝓉𝓉𝒶𝓇𝒾𝒾 @Anstar_rius]

Como se ven los psj de Saint Seiya cuando tienen: 7, 14 y 243 años respectivamente

[prettysavage.mk @deanvicci]

@MilesKaneMusic Drop TLSP 3 pls xoxoxo

[Marco Albiero Art @AlbieroMarcoArt]

They used an illustration of mine as a reference for the pose in the photo!
@BlokeesOfficial
#saintseiya