兼光ダニエル真

This has nothing to do with any translation or creation of fiction but let me be clear. I do not condone/encourage physical harm or threats against anyone on the basis of ideology, gender, race, ethnicity, sexuality, age, religion nor any other predisposition or adopted identity.

Common words where their meaning are completely mismatched between Japan and American English: JP -> Am.ENG Cut -> Shot (film) Half -> by-cultural Consent -> outlet (electrical) Home -> platform (trains) Mansion -> deluxe apartments Aasu -> Ground (electrical) not ass. Fun stuff!

トレカをテレカを空読みする事案発生

今の子供の間ではあまり人気でないかもしれないけど、この時期にキャラグッズとして面子が復活したら面白そう。

今日は暑くなりそう。グッタリ

Mark Isham's The Beast is a wonderful soundtrack accompanying a harsh but tight war story involving the madness of war from the vantage point of Russian tankers in Afghanistan. Highly recommended.

I've said this before and I'll say it again. When Comiket started in 1975, US comic & Sci-Fi cons where far ahead in fanzine culture and indy press. The success of doujinshi culture is not something unique to Japan--It's something unique to the group of people created that realm.

Doujinshi marketplaces provides people with many choices--you can do parodies, original material, sexually explicit or not. You can put your stuff on offer in front of 200,000 people, or just 200 people. And you can keep the budget under $200. That's empowering.

But by letting the reader to decide who should be rewarded and letting creators share among themselves their own creations, new realms and frontiers can opened up. Many genres developed radically within the doujinshi realm and encouraged people to explore fields.

Application to a doujinshi marketplaces costs about $40~80. Going to your local marketplace costs roughly $10~20. Three's no lodging. Food, maybe $20. And then there are the books--And you can do this for cheap. Doing a booth at a doujinshi marketplace for under $200 is not hard.

But this ecology is not easy to establish. The bar or entry must be left low. Creators need to feel they can experiment and not fear getting burned easily. Crappy books are fine, and trust me, there were and still are a lot of crappy books at many doujinshi marketplaces in Japan.

If things play out right, after a while the environment grows more inviting and encourages more creativity, thus new people get sucked in by the allure of great stuff being produced there. Rinse and repeat.

I've always argued that doujinshi and fan creativity best functions in its own ecosystem--People enthusiastic about alternative media works help support creators to publish more material, then the market grows and more parties come in and help facilitate the whole thing.

Currently, each session of Comiket features 35,000 circles and 590,000 people attending.

When Comiket first started off in 1975, there were only 32 circles attended by roughly 700. In just over 10 years, it hit 4000 circles and 35,000 general attendees. I realize it's not fair to compare N.American cons to this, but it would be nice if space for creators grew more.

That hit the spot. 大満足