Deb Aoki @debaoki

🧬ジュラシックパーク🧬 🎊33周年🎊 🦖おめでとうございます🦕

If you haven’t read “Thunder 3” from @KodanshaManga and @KMANGA_KODANSHA, just know that this anime will take you on a ride. Strap in and get ready.⚡️⚡️⚡️Read the manga & you’ll see what i mean…! kodansha.us/series/thunder…

Netflix Anime @NetflixAnime

20 hours ago

Based on the original manga by Yuki Ikeda, follow Pyontaro and his best friends, Tsubame and Hiroshi, as they embark on an adventure to find Pyontaro's missing sister. Thunder 3 premieres July 8, only on Netflix.

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There's a #BlueLockDiamonds category for everyone to enter - and Best Fan Energy could be the one for you! Head to a participating retailer near you and take a photo or video with a Blue Lock display while showing off your Fan Energy! More details @ bluelockdiamonds.com/events (1/4)

#第30回手塚治虫文化賞 贈呈式では、記念号外🗞をお席にお配りしました 受賞コメントや描き下ろしイラスト掲載のすてきな号外、ぜひ画像でご覧ください✨

The Asian Pacific American Librarians Association (APALA) is currently collaborating with the Graphic Novels & Comics Round Table (GNCRT) to create an annotated core list of Asian Pacific Islander American (APIA) graphic novels highlighting APIA voices across all age groups.

🚨 U.S. PREMIERE ALERT 🚨 📺The legendary cyberpunk manga and anime series THE GHOST IN THE SHELL returns in a bold new vision, brought to life by the acclaimed animation studio Science SARU. Be among the first to experience the U.S. premiere screening of the new series and hear directly from the staff as they share the creative concept, artistic direction, and visual world behind this highly anticipated adaptation.🌟 ☑️ U.S. Premiere Name: THE GHOST IN THE SHELL x Science SARU Special Panel & Premiere 🗓️ Date: Day 3 - Saturday, July 4 ⏰ Time: 2:45 PM – 4:05 PM 📍 Location: JW Diamond Ballroom 🔗 Register Now! showclix.com/event/ax26-gen… 🏩 Book a Room! book.passkey.com/gt/221020473?g… 📱 Download the AX Mobile App! anime-expo.org/mobile-app/ Anime Expo 2026 | July 2-5, 2026 | Los Angeles Convention Center, CA #AnimeExpo #AX2026 #AnimeExpo2026 #Anime #Japan #LosAngeles #Manga #Cosplay #Otaku #Gaming #RPG #AMV #Shoujo #Shounen #THEGHOSTINTHESHELL #ScienceSARU

[CAPTAIN TSUBASA -ONE WORLD ONE TEAM ART EXHIBITION 2026-] Opening in San Francisco on June 13. With the world currently captivated by soccer, the exhibition will tour from San Francisco to locations around the globe. We invite you to come and enjoy the “Captain Tsubasa” art experience at the venue. For more details, click here: gallery.gaaat.com/en-us/pages/ca… #captaintsubasa #キャプテン翼 #GAAAT

I wanna see this so bad! This is one of those works that keeps getting referenced by other great works of Japanese pop culture. Things like Evangelion, Power Instinct, Typhoon Club etc. Whenever you see legs poking up out of water comedically like this, it's a ref to Ingumani Fam

Japan Society Film @js_film_nyc

a day ago

Kon Ichikawa's THE INUGAMI FAMILY (1976)—an adaptation of Seishi Yokomizo's Kindaichi mystery novel—heralded the launch of Kadokawa Pictures, helping revolutionize Japan's stagnating film industry. A legendary feature that has remained long out of distribution in the West!

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矢沢あいさんの漫画『ご近所物語』とサンリオキャラクターズが夢のコラボ♡ 7/10（金）～有楽町マルイ（東京）を皮切りに全国4か所でPOP-UP STOREを開催☆ 心ときめくおしゃれな世界をお見逃しなく♪ sanrio.lnky.jp/ORISeDL

One of my favorite anecdotes from the build-up to this World Cup, which reveals so much about the collision between FIFA and U.S. cities. The day a FIFA exec told Los Angeles that LA needed to be “put on the map.” @TheAthleticFC

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“How to Turn Piracy Manga Readers into Consumers of a Healthy Comics and manga Industry” The most standard and traditional solution is for a country to join the international copyright system. However, the reality is often more complicated than simply saying, "They should just join." Such decisions are frequently tied to much larger international agreements and negotiations. In South Korea, for example, the Uruguay Round negotiations caused enormous controversy and social debate. If I remember correctly, hosting the Olympics was often spoken of as one of the benefits that came alongside Korea's broader integration into the international community. But what if I told you there is a simpler and often more effective solution than joining the international copyright system? The answer is surprisingly simple. A country develops legitimate comic publishing and distribution businesses. The moment a foreign comic or manga title is officially licensed, registered, and sold within that country, reading pirated versions of that work becomes illegal under domestic law. Why? Because the work is now being sold legally within that country. Because taxes are being paid. Taxes. The fact that taxes are being paid is important. What kind government wants a business that takes money out of the country without paying taxes? Simply saying, "Please crack down on illegal scanlations," is rarely enough. Governments may act, but if they do, it is often because of external pressure rather than genuine domestic interest. Once taxes are involved, however, the situation changes completely. The goal should be to create legitimate businesses, pay taxes, and then ask for enforcement. Taxes are one of the government's most important concerns. But for legitimate businesses, taxes are also one of the strongest tools available. Yet there is an even simpler and more effective solution. Based on my own research, I believe it may be the ultimate solution. A country becomes a producer of comics and manga. Its creators begin selling their works beyond their own borders. In other words, it becomes a comics nation. The country has a soft power! The comics industry generates more tax revenue. Creators earn foreign income through exports. That alone is wonderful. And then they generate even more tax revenue. When that happens, I believe the conversation changes completely. People begin saying: "We want to join the international copyright system. We cannot tolerate our country's valuable cultural creations being stolen." And the key card needed to make that future possible is the aspiring comics and manga artists of the world. I have often said that aspiring creators around the world are treasures for the future of comics and manga. I have said it privately for more than a decade. I have said it publicly on YouTube for at least 3 years. Today's discussion is simply one more reason why I believe they are so valuable. They are one of the secret weapons of the future of comics. Evangelion, hasshin! No—not Evangelion. Evange...line. Evangeline! (Phew... close enough.) More importantly, the future of the comics industry must be viewed at the national level. Not merely a question for individual creators. Nor is it a question for a single company. It is not simply a matter of someone working so harder. The comics and industry must be viewed from the perspective of national cultural policy. From the perspective of taxation. From the perspective of exports. From the perspective of future economic growth. From the perspective of international copyright law and international crime. And even from the perspective of literacy, education, and learning outcomes. Only then we think on that scale can we begin to find an answer to piracy. To everyone who has ever said, "Please don't steal from mangaka and manga that we love!" I sincerely love and appreciate you. More than I can adequately express. Because of people like you, I was able to continue working. I was able to make a living through drawing manga. And I was fortunate enough to encounter the opportunity called Dr. STONE! But rather than fighting readers, perhaps we should remember that the real problem is not the readers. The real problem is the criminal organizations that profit from the system. So instead of fighting one another, perhaps we should ask a different question: How can we create a gift for all of us? To be continued...

just wanna get a little technical about manga demographics. dengeki daisy was serialized in betsucomi, shogakukan's shoujo magazine aimed at older teens & readers in their early 20s. lot of the series published under this label tend to be more mature in tone & subject matter

HAPPY 33rd ANNIVERSARY to JURASSIC PARK✨✨✨

Is your manga and light novel TBR pile getting a little TOO manageable? Let’s fix that. 😉 Tune in TOMORROW starting at 12:00pm ET / 9:00am PT for a whole new wave of announcements! We can’t wait to show you what’s coming soon!

This is Zach Cregger’s approach to first drafts as a screenwriter. It’s called “elfing”. He’s right. ✍🏼

ATOM誌をいただく。　2025年11月BDフェスティバルでGaëlle Genillerさんと対談した。あこがれ。

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アニメ一から観てるんだけど天さんとランチ可愛すぎんか

[#ReviewArtbook] Artbook - Paint it, Black Rokudenashi Blues Reproduction Genga Art Collection - Masanori Morita #Art #Illustration #Manga

よくある「AI絵っぽいな」の感覚って、実は、人間にしかわからない。 美術予備校で受験用の絵を描いていた頃、 まだ初心者だった僕は、時間内に描き切れないことが多かった。 でも、上手い人の絵を見ると、ぱっと見で華があって、 どこも丁寧に描き込まれているように見える。 ところが、近づいて見ると違う。 少ない手数でさらっと済ませているところもあれば、 主役や視線を集めたい場所には、明らかに手数がかかっている。 何枚も見ていると、だんだんわかってくる。 「あ、この人、花を描くの好きなんだな」とか、 「この人、描きたくないものを隠すのがうまいな」とか。 つまり、人間の絵には「めんどくさい」がある。 上手い人ほど、めんどくさいものを画面の隅に追いやって、 必要最低限だけ描いて済ませる。 それは時間配分の技術でもあるけれど、 もっと感情に近いところでは 「ここはめんどくさい」「でも、ここはどうしても描きたい」 という、人間の都合がそのまま画面に残っている。 でも、AIには、その「めんどくさい」がない。 「うわー、だるい」もなければ、 「楽しい！ 永遠に描いていたい！」もない。 だから隅から隅まで同じ熱量で描けてしまう。 それが、どこか気持ち悪いのだと思う。 AI画像を少し怖く感じるのは、 絵の中に人間の疲れや諦めが見えないからかもしれない。

$2. A handmade sandwich. From a vending machine. Inside a train station in Japan. JR Sapporo Station, Hokkaido. The machine belongs to Sandria, a sandwich shop founded in 1978. The first 24-hour sandwich shop in the city. No preservatives. The egg filling is packed all the way to the edge of the bread. Every bite hits. The machine runs from 6 AM to midnight. Staff restock it 5 times a day. It still sells out. Commuters at the other ticket gate begged for their own. So the station added a second machine. The best seller is the Double Egg. 300 yen. About 2 dollars. Tour groups grab them for breakfast before their bus leaves. What can you get for $2 at your train station?