>>2863 >There were brown-skinned people in medeival and early modern Europe, Not enough to matter

>>72515 Bruhdder, abe was a kike AND gook puppet, had he not gotten gun-shanked japan would have been dead by 2023. >>72867 I question why the fuck did they think it was a good idea to somehow brag about this during the height of the upheaval to throw fuel on the fire. What is this degree of stupidity?

>>>72882 >abe was a kike AND gook puppet I'll never forget the dessert in a shoe the kikes served him, absolute humiliation ritual.

>>72882 >abe was a kike AND gook puppet, Not gonna go much into politics, but Japan only started really going downhill when he died. If that was true Japan would be like what is today by 2012.

>>72884 >>72893 Reminder he drafted.the jeet importation plan. Acting he was one of the good guys is laughable.

>Japanese space probe that “sent Miku Hatsune into space” ends operations 15 years later https://archive.ph/9TAhK <Japan’s Aerospace Exploration Agency (JAXA) announced on September 18 that it has terminated operations of space probe Akatsuki, ITmedia reports. The spacecraft, which studied the orbit of Venus for nearly a decade, is famous for “taking Miku Hatsune to space.” <Also known as the Venus Climate Orbiter, Akatsuki was launched on May 21, 2010. Leading up to the big day, JAXA conducted a PR campaign inviting people from around the world to send handwritten messages and drawings they want to send to Venus. Amidst this, VOCALOID fans organized an initiative to send Miku Hatsune to space, gathering over 13,000 messages and illustrations of her. The messages were printed onto small aluminum plates and attached to the probe, serving as balance weights. <Akatsuki had a turbulent journey – after it was launched, it suffered an engine failure and was unable to enter Venus’s orbit. It wandered in space for five years before JAXA decided to replace the main engine with the secondary attitude control engine, which only had one-fifth of the thrust. Thanks to this, the probe was able to enter Venus’s orbit and start observation of the planet’s atmosphere and meteorology. Throughout the years, it took numerous valuable images and helped uncover insights into Venus’s mysterious super-rotation. <However, since 2024, JAXA became unable to establish communications with Akatsuki. Recovery missions were attempted, but with the Venus mission having far exceeded its designed duration, it was decided to bring operations to an end. Over on X, JAXA commented: <“We have concluded operations of the Venus probe Akatsuki. Since last year we have been attempting to restore communications, but determined that recovery would be difficult, and so we have drawn this chapter to a close. We sincerely thank everyone who has supported Akatsuki over the 15 years since its launch.”

https://eu.tallahassee.com/story/news/2025/09/16/porn-gaming-sites-nutaku-lawsuits-florida-attorney-general/86176866007/ Do I even have to say how disastrous it is that a payment ptocessor got also sued?

>>73290 You know, what actual argument that aren't brainless crap could judges actually make up if some porn site uses credit cards as age verification (give us 1 buck via credit card, not debit card, so we know you're 18+)? In the States and IIRC most of the world you must be 18 years old to own one, so it should be a very failsafe solution. I honestly want some porn site to argue with this, just to see the absolutely BULLSHIT way the judges and prosecutors argue against it.

>>73290 >>73291 >You know, what actual argument that aren't brainless crap could judges actually make up if some porn site uses credit cards as age verification Because that's not what the law requires: <In 2024, the Florida Legislature passed HB 3, which restricted children from social media and required any commercial site with adult content to use an age verification system or face fines up to $50,000 per violation, plus attorney fees, court costs and the potential for civil liability. <The specified systems must require an upload to each site of some form of official ID that verifies age

>>73303 Quite evil, if normalfags weren't such sheep the question why that old credit card method isn't sufficient would have come up immediatelly. At this point it won't be stopped, the only good news is that a massive global crash is also likely incoming, since the global elite doesn't really understand how anything works besides enriching themselves and feeling/acting superior to us. So likely they'll also lose everything. Doesn't really help us, though, but when everything's on fire and civilization collapses the rich and useless are usually not amongst the survivors. This is unrelated to censorship, of course, but we can see it already happening, and if anything the elite accelerates the downfall (in some retarded cases, like Thiel and his Dark Enlightenment, on purpose, not that it will help useless wastes of flesh like him).

>>72884 >>72893 The "gook puppet" part is true though. He was a Moonie.

Demon Slayer: Infinity Castle Tops Superman as #1 Comic Book Film of the Year https://archive.ph/axbsp >Deadline and The Numbers services reported on Sunday that Demon Slayer: Kimetsu no Yaiba Infinity Castle - Akaza Sairai, the first film in the Demon Slayer: Kimetsu no Yaiba Infinity Castle trilogy, has earned an estimated total of US$633 million worldwide as of Sunday, October 5. That makes the film the highest grossing comic book film of the year, after surpassing Superman's US$615,784,465. (Infinity Castle had already overtaken Captain America: Brave New World and Thunderbolts*.) That would also make the anime film the #6 highest-grossing film of 2025 so far after topping F1: The Movie. >(The Hollywood Reporter and Box Office Mojo list the film's worldwide box office total at "US$757.6 million" as of Sunday. However, the discrepancy between their total and Deadline and The Numbers' total is US$124.6 million, which is exactly the U.S. box office total that all four services list.) >Deadline added that the first Infinity Castle film earned US$324.6 million in Crunchyroll/Sony markets (which are outside Japan and some other Asia markets) by adding US$10.2 million this weekend (US$3.5 million in the U.S. and US$6.7 million outside the U.S.) To date, the film has earned a total of US$17.4 million in Mexico, US$14.4 million in Germany, US$14.2 million in France, US$9.3 million in India, and US$8.9 million in the United Kingdom.

>Japan’s Business Elite Demands State Bailout for Anime & Games https://archive.ph/7pyPC <The powerful Keidanren business federation has called on the Japanese government to immediately boost support for the video game, anime, and manga industries and launch a tougher crackdown on piracy. But when the state leans too deep into protecting IP, creative freedom, anti-piracy overreach, and bureaucratic control may follow—especially for indie creators. <The Keidanren (Japan Business Federation), a heavyweight corporate lobby, issued an “urgent message” on October 6 demanding the government provide large-scale, long-term strategic support to content industries like video games, anime, manga, film, and music. The group argued that Japan’s content exports have grown so fast they now rival semiconductor exports, and warns that unless the nation doubles down, it risks losing its edge in global pop culture. <In their call, Keidanren lays out a suite of demands: more aggressive piracy crackdowns (with special attention to manga), stronger funding for localization and global marketing, investment in new game development, and improved production environments for animation, including better pay and more staff. They frame the push not as cultural, but as economic: “content IPs should be central drivers of Japan’s economy.”

>>4608 I literally cannot turn on the TV at any time of day on most channels that aren't showing anime or cartoons or within 5 minutes there will be a sex/rape scene it is a constant stream of people getting their brains blown out and moaning on most TV channels that aren't for children and it NEVER has anything to do with the plot, it's just softcore porn for Shōwa ojisans all day, 24/7 violence, sex, rape, or you turn on the news and see gore because you gotta feel sad for the jews for the 10000th time today I go outside and there's TVs out in the storefronts or inside bars blasting whatever whore "musician" released her latest machine generated single, shaking her ass, wearing shit that lets everyone see her beef curtains if a kid googles a character from a videogame there's a good chance he's gonna get porn, or stuff that leads to porn, within the first 5 results because WESTERN social media aids and abets the most fucked up leftist faggots imaginable, who spend 18 hours a day drawing porn of Link getting fucked by Ganon but what, Goblin Slayer is obscene? It's not that satanist bitch Sabrina Carpenter grinding her rancid snatch on a car as she sings about how she fucked 1000 guys, that's A-OK for a 10 year old girl to look at and sing along to, but Fruits Basket is where we draw the line? Fuck off. Hey it wouldn't have anything to do with this, would it? https://www.japantimes.co.jp/commentary/2024/06/28/japan/blackstone-buys-mecha-comics-manga This wouldn't just be the supreme court of the united states and Blackstone conspiring to put pressure on the Japanese entertainment industry so they all go the way of Capcom and SquareEnix, right?

>>74069 >supreme court of the united states What do they have to do with anything?

>Manga Legend Ken Akamatsu Steps Down as Parliamentary Vice-Minister https://archive.ph/MxUNA <Former manga creator-turned-Liberal Democratic Party politician Ken Akamatsu has officially handed off his duties as Parliamentary Vice-Minister of Education, Culture, Sports, Science and Technology, marking a notable change in his political responsibilities and raising questions about his future direction. <Ken Akamatsu, best known for his manga works such as Love Hina and Negima! Magister Negi Magi, was appointed as Parliamentary Vice-Minister for Education, Culture, Sports, Science and Technology as part of the Second Ishiba Cabinet on November 13, 2024. <According to his official Twitter post, he participated in a formal hand-over ceremony on the morning of October 23 2025, signed transfer documents and then departed the role: <Today, starting at 9:30 in the morning at the Ministry of Education, Culture, Sports, Science and Technology, we held the handover ceremony between the outgoing and incoming Parliamentary Vice-Ministers. I signed with a brush pen and completed the handover to Vice-Ministers Shimizu and Fukuda. Afterwards, I gave my final address in the auditorium. Then, I was sent off with applause from everyone in the ministry, and left the Ministry of Education, Culture, Sports, Science and Technology, where I had spent about a year. With this, my duties as Parliamentary Vice-Minister have come to an end. I will summarize the activities I carried out during my term as Vice-Minister in a separate post. <The departure marks a pivot away from a ministerial oversight role that aligned with cultural and media matters, sectors Akamatsu has long had personal and professional ties with. <Notably, Akamatsu’s appointment originally had symbolic resonance: a manga artist entering a formal culture-education governance role. His departure may somewhat blur that symbolic thread. Whether this means less direct advocacy for otaku-industry concerns or simply a recalibration of where he will focus his efforts remains to be seen. <For fans of Akamatsu, his exit from that role may inspire speculation about his next move: Will he return his focus more toward creative industries, manga advocacy, or the political arena in a different capacity? Given his background as an advocate for creative freedom and opposition to expanded censorship laws, the repositioning could signal a strategic shift. >Japanese Animator Warns That Cheap Outsourcing & AI Are “Killing the Industry” https://archive.ph/8InhT <On October 15, 2025, Japanese animator Joni (@jonchop1) went viral after posting a thread detailing how rampant outsourcing and AI “correction” work have wiped out the once-vital class of animation directors in Japan. <In his main tweet, Joni described how he was approached by a client to fix AI-generated animation: <“I got a request from an individual client to do ‘animation adjustments on anime made with AI.’ They showed me some disgusting animation and wanted me to fix flickering, sliding, and collapsing parts. Payment was per frame. The industry’s rotting. I told them not to contact me again. It really feels like a bad flow is coming to the forefront.” <He elaborated that this trend began with outsourcing simple animation tasks overseas, but now it has spread throughout the production pipeline: <“It started with cheap overseas animation, and now many companies outsource everything overseas. To put it bluntly, they’d ask people abroad to draw quickly and cheaply, then have Japanese animation directors fix it. Since the budget per episode doesn’t change, it’s cheaper overall. But the result is that many good, fast directors quit after being asked to work cheaply.” <Joni condemned the logic behind using AI or cheap human labor to mass-produce commercial anime: <“I want nothing to do with the idea that ‘if professionals fix AI-made anime, you can make commercial anime at low cost.’ I don’t deny the use of AI and human labor together, but it’s wrong to outsource to humans at low prices. I want to eradicate the practice of finishing ‘supervision’ or ‘corrections’ cheaply. The anime industry has already destroyed its directors with this habit.” <He concluded with a sharp critique of those who exploit animators under the guise of technology: <“I don’t know if directors understand the cost structure, but sending low-quality work to professionals for low pay as a ‘job’ is insane. It’s the kind of request you’d expect from an idiot or a clueless foreigner.” <Joni’s frustration echoes what many in the anime world have been warning for years: that the pursuit of efficiency, outsourcing, and now AI automation has gutted the artistry that made Japanese animation world-famous.

>>74267 >I got a request from an individual client to do ‘animation adjustments on anime made with AI.’ They showed me some disgusting animation and wanted me to fix flickering, sliding, and collapsing parts. Payment was per frame. The industry’s rotting. I told them not to contact me again. It really feels like a bad flow is coming to the forefront.” I did notice that in some anime it gets some weird parts that get me thinking "is this AI?", now I'm sure it is. Fuck, if this trend continues it sure will kill the industry.

>>74276 >it sure will kill the industry. Good. The only way to cleanse the rat infested boat is to kill it and build a new one.

>>74277 >build a new one. And you know if it ever happens the "new one" by western companies like disney and make some even worse trash.

>>74298 Then by definition it wouldn't be anime anon.

>>74302 Well, yeah but they just don't care. Also, something very similar to this happened to american cartoon when Hanna Barbera started. The story is just repeating itself.

>Foreign Markets Now Make Up Over Half of Japan’s Record ¥3.84 Trillion Industry https://archive.ph/HGSUe <According to the Anime Industry Report 2025, set for release this December by the Association of Japanese Animations (AJA), the total global anime market reached an unprecedented ¥3.84 trillion in 2024 — a 14.8% increase from 2023. Of that, ¥2.17 trillion came from overseas sales — a staggering 26% jump from the previous year — while domestic revenue grew by only 2.8%, reaching ¥1.67 trillion. <The data makes one thing clear: anime’s international appeal has never been stronger. What was once a niche export has become Japan’s biggest cultural product, outperforming music, film, and even gaming in global reach. Streaming services, global fan conventions, and social media fandoms have turned Japanese animation into a mainstream fixture far beyond its home country. <The AJA’s findings note that foreign demand now accounts for more than half of all industry income, solidifying a shift that began in the mid-2010s. Anime studios increasingly rely on international licensing deals, overseas Blu-ray sales, and collaborative productions with Western distributors to keep profit margins healthy. <While domestic figures remain steady, the local market has matured — meaning the future of anime’s growth lies almost entirely overseas. Naturally, true anime fans are concerned that anime will become even further sanitized, getting rid of things that were once acceptable in anime for the sake of the so-called “global audience”. >Anime studio bankruptcies and closures continue to rise for third consecutive year in Japan https://archive.ph/IyGtP <The number of Japanese anime production companies going bankrupt or closing down is expected to increase for the third consecutive year in 2025, according to a new report by Teikoku Data Bank. <The forecast is based on what we’ve seen during the first nine months of the year, with two anime studios filing for bankruptcy, and six others suspending or dissolving business operations, bringing the total number of companies leaving the industry to eight. Teikoku Data Bank points out that the rate at which studios are closing down this year is on par with 2018, which saw a record high of such cases (16 in total). <Not only that, but when including small subcontractors and freelance animators working in anime production, the actual number of companies and professionals exiting the industry is likely much higher. <Of note, the bankruptcies and closures in the past few years have not been limited to studios doing secondary anime production work, but have also impacted so-called prime and gross contractors (studios capable of fully completing anime projects in-house) just as heavily. Roughly half of the anime production companies that exited the market in the past five years were primary or gross studios, like Ekachi Epilka, Cloud Hearts and Studio5. <This comes despite the anime market reaching record high growth as of 2024. The main cause appears to be Japan’s severe manpower shortage, which has led to what Teikoku calls a “profitless boom” among production companies. With the increasing number of anime titles being made, studios have come to face surging project orders that outpace their capacity. As a solution, some companies are forced to extend production periods (and thus increase labor costs), which diminishes their profit margins. Others have resorted to outsourcing to overseas studios, only to be faced with soaring costs caused by the yen’s depreciation against the dollar. <To make matters worse, industry professionals say that the practice of outsourcing animation “for cheap” from overseas studios and then having domestic staff “fix” the subpar quality work has caused skilled key animation directors to suffer from burn out and resign, creating a kind of vicious cycle. >“No interference in creative works.” Japanese government proposes new policy for anime and game expansion in the West https://archive.ph/oxJU8 <This October, the Japanese Ministry of Economy, Trade and Industry (METI) held its 8th Entertainment and Creative Industrial Policy Seminar, during which it proposed five key principles of its new policy guidelines for the Japanese content industry, including video games, anime, manga, film and music. As reported by Otaku Soken, the new guidelines have been announced as part of the strategy to achieve the government’s goal of expanding the overseas market size for domestic content to 20 trillion yen by 2033. This comes only a month after the Japan Business Federation (Keidanren) issued an “urgent message” calling on the government to provide immediate large-scale and long-term support for the country’s content industry. <The “Five key principles of the Entertainment and Creative Industries Policy” are listed as follows: <1. Large-scale, long-term strategic support <2. Support efforts to spread Japan-made content to the world <3. No interference in the content of creative works <4. Provide direct support <5. Prioritize those willing to take a challenge >Russia Bans MyAnimeList Over “Extremist” LGBTQ+ Content https://archive.ph/zHQPe <The Russian government has blocked access to MyAnimeList, citing “systematic placement of materials propagating non-traditional sexual relations and/or preference”. <Russia’s federal media regulator Roskomnadzor slotted MyAnimeList onto its national blacklist, effectively shutting the site to Russian users. According to state-media-reported comments, the reason given was MyAnimeList’s alleged “extremist” LGBTQ+ content. <MyAnimeList is a global hub for anime and manga, with around 20 million users. The platform offered discussion forums, ratings, and media for all kinds of content — including, it seems, works that Russia now deems unacceptable. <Roskomnadzor told the Tokyo-based site the ban could be lifted if MyAnimeList removed the content considered unlawful in Russia. <Russia has a long track record of censoring content: previous bans of anime titles like Tokyo Ghoul and Death Note have been justified on the grounds of violence or “harm to minors.” But in this case the stated reason is explicitly the propagation of “non-traditional sexual relations”.

>>74490 Time to go back to 2006.

>>74490 >>74069 On the bright side, Japans official policy appears to be resistance against the feminist scourge trying to kill anime, always have hope And I think it's important to remember, even if reddit anime becomes the new normal, anime lives on inside of us

>>74917 They killed lolicon fanservice from anime. Even the most subtle, while IRL kids show off their everything on SNS and video sharing platforms. I don't give a shit or have any hope whatsoever.

>>74917 >anime lives on inside of us Not for me, I can't remember any era of anime where it wasn't just dogshit adaptations with a single exception once every few blue moons. I can count with both hands the anime that have gotten truly good (not even great or perfect) adaptations with no dealbreaker problems. Remove from the list those that only had a good season one that covered like 10% of the plot total, and then jack shit (in other words, stuff that actually got adapted from start to end), and the number goes down to like three. Remove from the list those that took over a decade to get adapted from start to finish and that number goes down to zero. TLDR: Just stick to the source material.

>>74920 i'd have to be indifferent about CVs, OSTs and color to give up on anime. which is impossible. i can read the raw WNs, i do independent of this or that anime, but if there's anime i watch it and wish for more.

>“Everything has become shallower.” Tokyo Godfathers, Lain producer says the Japanese corporate mindset is why 90% of anime just adapts existing works https://archive.ph/Dvwhc <The Japanese anime market has reached the size of over 21 billion dollars in 2023, and continues to expand at a rapid pace. However, as reported by ITmedia Business via Yahoo! Japan News, among all TV anime titles in the Fall/Winter season of 2025, 85.7% were based on existing source material like manga, novels, games and other IPs. On the other hand, original works made up only 14.3%. And while it seems like the market is walking the safe and profitable route – the lack of talented workforce, and with it, frameworks to support the creation of original content – are what could end up setting the industry back in the long run. <Talking to the outlet, Taro Maki, veteran anime producer known for his work on Tokyo Godfathers, Millenium Actress and Serial Experiments Lain, reflected on the problem, pointing out Japan’s “businessman producer” culture of playing safe as one of the main causes. <As he explains, Japan is witnessing a “lack of producers” who aren’t led by safe business decisions and profitability. “There are many ‘businessman producers,’ and in Japan the system of evaluation basically focuses on minus points, rather than plus points. “In other words, not making any mistakes ends up being their main priority.” Maki explained that, in such an environment, there is no concept of taking on new challenges. “That’s why, as a result, only safe projects and hit genres are the ones circulating,” he added. <As suggested by Maki, this kind of corporate mindset is what might be holding Japan back from creating more original works, and why the industry is oversaturated with “safe” adaptations. “Nowadays, ‘original works’ like manga or novels become hits, and then they get an anime adaptation which would tie into the business of the publisher – almost 90% of the whole industry is built around this kind of framework. This leaves no room for new anime creators to thrive. Ideally, I’d be fine with around 70% of new titles being “safe,” but I think that the remaining 30% should be turning towards taking on new challenges. We can create a ‘healthy’ anime industry only if we manage to find this balance.”

>>75027 But the vast majority of anime has always been adaptations ever since the 70s. >>74920 >I can count with both hands the number of truly good adaptations I don't think its that few. Off the top of my head, most decently large shounen have gotten strong adaptations. Also, the standard of requiring less than a decade is a bit unfair because many of the large manga series have taken huge amounts of time to get finished, and a lot of the biggest ones still aren't finished as manga even after multiple decades.

>>75036 >But the vast majority of anime has always been adaptations ever since the 70s. Not in the way that we're now seeing anime of Psyren and Liar Game, and remakes like Rayearth and Hell Teacher. A lot of the work Tezuka and Go Nagai were involved in would be more appropriately referred to as cross-media franchises. Yes, based on the "same concept" originating from a manga they were in the middle of creating, but each doing their own thing and telling their own story. If you actually look up the release schedules of series like Wonder 3, Devilman, Microid S, and Mazinger Z, the shows were just a couple months apart from the release of their original manga. Contrast that to the "titans" of anime like One Peace and Dragon Ball, which didn't receive their anime until two years later.

>>75038 >each doing their own thing and telling their own story You mean filler? It was better that they decided to take the approach of waiting some time before adapting because creating an anime adaptation takes far less time than writing a manga in most cases. The latter approach only works if you like monster of the week stuff or if you put someone extremely competent in charge of writing filler arcs. Usually adaptations from the 70s are considered pretty terrible to watch nowadays (and the adaptations were often made for children, so the standards of the audience are lowered).

>>75040 >Usually adaptations from the 70s are considered pretty terrible to watch nowadays Have you actually watched them or is that based on hearsay?

>>75041 I've tried watching them, I don't have the interest or patience to seriously bother with that shit though, its a massive time investment for what amounts to watching children's shows. I have read the manga for some of the more notable works of the time. No reason to waste watching literally 50 hours of Mazinger Z and Great Mazinger when I could just read the manga (which unfortunately wasn't very good but at least it didn't waste my time) or watch something like Mazinkaiser or read Shin Mazinger Zero (an actually great manga). I don't have nostalgia for this shit and I'm not a child or a giga-autistic /m/oron, there's nothing for me there.

>>75049 Well actually that's not entirely accurate I suppose, I guess reading the manga back then for Mazinger was a waste of time too since iirc it wasn't even finished or something.

>Sword Art Online director believes Japanese anime has the potential to replace Hollywood, but “focusing too much on global appeal could lead to failure” https://archive.ph/6oMQx <Talking about the worldwide success of Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle and Chainsaw Man – The Movie: Reze Arc, Ito acknowledges that the Japanese anime industry has been explosively growing overseas in the past couple of years. “I’ve also recently heard the news that Toho had acquired a British anime distribution company, but I get the impression it was actually when Aniplex acquired Crunchyroll in 2020 that Japanese anime started exploding in popularity across the globe. Taking into consideration the WGA strike from a few years ago and the influence of Covid, it also seems like the influential power of Hollywood movies has been weakening, so I think [Japanese anime] have managed to become a good replacement for them,” Ito said. <However, the Sword Art Online director also points out that, despite Japanese animated films being in the position to rise above the popularity of media giants like Hollywood, making anime with the global audience in mind could be a double-edged sword. “There have actually been many cases where focusing too much on “global appeal” has led to failure. I think Japanese people’s idea of what could be well-received worldwide is probably something people overseas don’t enjoy. However, the emphasis on political correctness is strong in America, so they might think, Japan is the only country that still produces works in which scantily clad girls battle, the kind of stuff that would be considered strange in North America,” Ito explained. <On a related note, with “overseas expansion” becoming a hot topic in the past couple of years, many industry veterans have been discussing on how to exactly approach anime production knowing that there is huge demand for it beyond the domestic market. Similarly to Ito’s remark, Neon Genesis Evangelion director Hideaki Anno, suggested that making anime for the global market is not the way to go. “I personally never made anything with the overseas audience in mind. I can only make domestic stuff. Production companies are quick to say Think about the overseas market, but personally, that’s not my goal […] My stance is simply – it first needs to be a work that will be well received and found interesting in Japan, but if by any chance people overseas also found it interesting, I’d be grateful for that,” Anno said in a recent interview.