"We think there is a fundamental misconception about piracy. Piracy is almost always a service problem and not a pricing problem. If a pirate offers a product anywhere in the world, 24 x 7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country 3 months after the US release, and can only be purchased at a brick and mortar store, then the pirate's service is more valuable.".
-- Gabe Newell

[–] RedSnt@feddit.dk 14 points 1 day ago (3 children)

The weebs are winning because Hollywood is bankrupt for ideas. Heck, not just Hollywood, the west in general.

[–] Auli@lemmy.ca 6 points 6 hours ago (1 children)

So is anime. How many another world build a harem shows do you need.

[–] USSEthernet@startrek.website 1 points 4 hours ago

New isekais coming out daily, it's out of hand.

[–] 0range@lemmy.dbzer0.com 10 points 23 hours ago (2 children)

I don't think ideas are the problem, it's that new forms of distribution are causing the industry to panic. Producers are making safer bets (sequels, remakes, franchises) so original ideas, which tons of people have, aren't getting funded.

Also worth noting that producers these days are less Hollywood and more Wall Street, they don't really understand movies so they make calls based on numbers and precedent that let them estimate profitability.

[–] Auli@lemmy.ca 1 points 6 hours ago (1 children)

But this has been the case for decades.

[–] tmyakal@lemm.ee 2 points 1 hour ago

It hasn't been decades. Maybe 15 years, though. It's coincided with the ubiquity of streaming.

Before Netflix was everywhere, a movie could bomb in theaters and still make up the difference on the back end. Kevin Smith's Clerks and Mallrats are great examples of movies that absolutely cleaned up on DVD sales. Comedy Central using advertising money and licensing Office Space for 20 hours per week is part of why the producers trusted Mike Judge enough to make Idiocracy.

But steamers don't pay nearly as well as direct-to-consumer home video or as well as advertising-supported licenses. So producers are disincenrivized to do mid-budget movies or take chances on new IPs, because if it doesn't do well in theaters then they're not making the money back.

[–] HobbitFoot@thelemmy.club 4 points 21 hours ago* (last edited 21 hours ago)

You're also having a problem that the new forms of distribution don't seem to replace the revenue of old forms. A lot of people hoped that they could replicate HBO's approach to streaming, but it turns out that it doesn't work well if every streamer tries to be premium cable.

And if you raise prices too much, people stop paying.

[–] DebatableRaccoon@lemmy.ca 14 points 1 day ago (3 children)

That and a general lack of availability of manga in the west. English releases are often years behind the Japanese ones, if they get brought over at all. It's why there are so many translation groups.

[–] mnemonicmonkeys@sh.itjust.works 11 points 1 day ago

Not only that, Kodansha is ridiculously money-grubbing in the space. They're continually trying to push for pay-per-chapter monetization instead of a basic subscription model like Shonen Jump does.

Not only that, Kodansha's newest app, KManga, has 21 trackers in it to sell off user data. For context, Facebook only has 9 trackers.

[–] Megaman_EXE@beehaw.org 3 points 20 hours ago

Additionally, manga is way cheaper in Japan compared to when it's brought overseas. It's hard to justify purchasing when I could buy some merchandise or something instead

[–] RedSnt@feddit.dk 6 points 1 day ago

You're right, same goes for anime as they mention in the article. I'm thinking one leads to the other, people might pick up the manga to catch up on the anime or maybe a manga reader will watch the anime version of their show.
And they target a starving audience if you ask me.

[–] Lemmist@lemm.ee 4 points 1 day ago

What exactly is the problem?