Japanese fans went to a Walmart in Dallas after the Japan-Netherlands game, and people online started joking that it was “Walmart’s first day without any theft.” From what I saw in the comments, a lot of locals were saying the Japanese crowd was really polite — no fights, no messing around, just calm and orderly. Some even said they wouldn’t mind if they stayed longer. It’s interesting how just behaving normally can stand out that much in certain places. x.com/mog_russEN/status/2066…

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...

RT @tetravolt2: To all my US friends who regularly import figs, dolls, events goods, panels, whatever from Japan... the US government, 𝘪𝘯 𝘪…

Still do this day my favorite Dexter’s Lab episodes!

おけいぬ4コマ漫画 特別編「サムライキャリバー&ラムネ」 ✨　✨　✨　✨　✨ 『グリッドマンユニバース』大黒湯コラボ開催中！ 詳細は大黒湯HPにて♨ daikokuyu.com/information/in… #GRIDMAN_UNIVERSE #おけいぬ #4コマ #大黒湯

これの明るい部分がネズミになってるの今の所誰にも気づいてもらえてない気がする

震度４で割と高い階なんだけど、こんな詰み方してても倒れないんだから、倒れる時って相当揺れてるんだな、などと…

グリッドナイト

こちらは前半は新人で、1分～は自分。逆噴射ミサイル発射追撃カットは先輩担当。 スタッフ全員の熱量が高くて本当に色々助けられました。

figma六花さんも予定どおり6月なようで🥳

ムジナさん（DYNAZENON）wip 色々盛ったけどまぁええやろ（定期） 一枚絵としては完成してるけどマンガとしては作業中です…

今回はちゃんと六花の靴箱使いました! 六花の湯は入りにこれるの今回が最後なので悔いなく浸かりまくりました🛀 迷ってたアクリルカード箱買いして特典が神

【グッスマフェス2026】 saitomさんテイストのアカネちゃん⭐️ 予約済みですよ〜 楽しみですね✨

便乗してトランスピキフォーマーの変形バンク(SE付き)作ってみました！

関係ない広瀬くんがツボってそうだな〜w

Flame Toys Event Limited Edition Announcement! The wait is over! [Furai Action] Galva Convoy (Limited Edition) will make its world debut and be sold first at GMHS 2026! Product Highlights: • Fully Pre-Painted & Pre-Assembled: Ready to display straight out of the box! • Limited Production Quantity: Strictly limited run. Sale only in Flame toys event and D4toys designated sale channel. Making it a must-have for collectors. Don't miss your chance to take yours home! #Transformers #Flametoys

ツンデレVS童貞 幼馴染忍者ラブコメ観測漫画 #ヴァージンキラー忍法帖 単行本1巻発売中！！ #ヴァ忍読んだよ　のタグでプレゼント企画もやっておりますのでぜひぜひ感想や写真やファンアートなどなど　お待ちしています！！！

【ツンデレVS童貞】ヴァージン・キラー忍法帖【幼馴染忍者ラブコメ】1巻発売記念！！🥷💜 #ヴァ忍読んだよ のタグをつけて感想・写真・ファンアート等を投稿してくれた方の中から抽選で1名様に直筆色紙をプレゼント！ 皆さんの感想が見たいのでぜひお気軽にご参加ください🙌 応募期間：6/12～7/12