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Nele Noppe

Removed scanlations link and post - 6 views

Hello everyone, I just removed a few links and a post that advertised a new scanlation chapter. Links that aren't strictly related to manga research are perfectly welcome here -the more interesting...

thought_police

started by Nele Noppe on 01 Jun 09 no follow-up yet
Ariane Beldi

Digital Manga Publishing Detail New Venture to Launch Over 1,000 Manga Online // Silico... - 2 views

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    Hikaru Sasahara, president of Digital Manga Publishing (Berserk), revealed, this week, to Anime News Network, a new venture his company is planning, by which fans will be able to provide their scanlations online, and these would then be distributed legally with the permission of the original copyright holders.
Nele Noppe

Opinion Prone: Digital Distribution of Manga - 0 views

  • digital manga...? I have mixed feelings about how well this will work out. Unlike anime, the format of reading a book doesn't translate as neatly as the format of watching a show on a screen. Manga sales haven't lagged as much as DVD sales partially because many people still prefer holding a physical book in their hands as opposed to reading on a computer screen (the other reason might be because they're cheaper).
  • I'm not sure if scanlations have as much an impact on manga sales as fansubs do on DVD sales though. Various experiments conducted by both fiction and nonfiction authors suggest that the availability of an e-book actually boosts real book sales.
  • The pricing model Digital Manga is using is kind of interesting. It's cheaper than buying the physical thing by more than 50%. The experiment I mentioned above had the people release their e-books free, which spurred their real book sales.
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  • I wonder if anyone will try to release digital manga by chapter shortly after release in Japan though. For long-running shounen series like Bleach and Naruto, it seems like it would be much easier than any attempt to release anime concurrently (though Crunchyroll and partners seem to be doing reasonably well). Viz already has the license. It doesn't take nearly as long to translate a chapter. It would be gold. Just figure out how to price a chapter.
  • The only issue would be that a chapter of manga is much easier to find online than an episode of anime, or at least, they're easier to access. No having to deal with torrents. You don't even have to download anything! Just pop over to Mangashare or Onemanga and you're set. Then again, if Viz did create a legal way for readers to have timely access to Japan's newest manga, I feel that many scanlators would hang up their work hats in good faith.
Ariane Beldi

Lost in Scanlation » Manga: An Anthology of Global and Cultural Perspectives - 2 views

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    "Welcome readers who found this site in Manga: An Anthology of Global and Cultural Perspectives."
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    This is a site from one of the author of the book "Manga: An Anthology of Global and Cultural Perspectives", available from Amazon.com!
Nele Noppe

Okazu: An Open Letter To Publishers of Manga and Light Novels - 0 views

  • If the Japanese companies are dictating the number of books they think American companies can sell, then it’s time to grow a pair and *make* them understand that, without the barrage of advertising and the streams of distribution, their projections are as real as the worlds in their LNs.We’ve all been talking about the fansub/scanlation issue to death. LNs are not failing because of scanlations. They are failing because it is time for American companies to stop acting like beaten curs. Stop sticking your collective tails between your collective legs and state the facts as they are. The American buying audience is a few thousand strong - at best. Stop lying about it. Rework your projections and admit that you’re all working in a teeny-tiny grassroots industry. Then grow it for real, like every other company has to - through advertising, promotion and quality products. If fandom bitches that it's not good/fast/cheap/free enough, tell them to fork over money or stfu.
Nele Noppe

Of Otakus and Fansubs - 0 views

  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • Lessig and other legal scholars such as Mehra have pointed to dojinshi in Japan as an example of how permitting more “remix” can contribute to a vibrant cultural industry.
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  • some artists make a living off producing dojinshi.
  • In the west, fans of anime, the term for Japanese animation, behave much like fans of Star Wars and Star Trek: they “remix” the characters and ideas from the stories they watch.
  • Trekkies or Star Wars fans do the same activities as otaku, but one practice sets anime fans apart from other avid fans: fansubs.
  • Manga also has its own form of fansubs called scanlations
  • Fansubs and scanlations don’t quite match the “traditional” forms of remix that Lessig and others mention. They do not create a “new” work in the same sense as dojinshi, fan films, or AMVs because their aim is to remain faithful to the original work.
  • Fansubs as a cultural product sit at an interesting boundary—between the dojinshi-like fan culture that authors such as Lessig want to encourage and the massive online file trading so vilified by the recording and motion picture industries.
  • examines the anime industry’s unique relationship with fansubbers in the context of the suggestion that it represents a new policy model for online copyright.
  • Section 7 concludes by stating that it is too soon to claim the anime industry as a victory for alternative business models incorporating what most would think of as widespread copyright infringement.
  • Otaku create fansubs because they love anime—in fact, most love all things Japanese.
  • Fansubs predate BitTorrent, broadband, the dotcom boom and bust, and even the World Wide Web.
  • Fansubbers distributed or traded the finished videocassette tapes to others, but because of the time and cost involved of mailing out a physical medium, distribution was limited.
  • At one time fansubs were virtually the only way that fans could watch (and understand) anime.
  • But as with the music industry, the benefits of digital technology and the internet brought problems.46 Fansubbers started to take advantage of faster computers that allowed them to subtitle anime without the need for expensive, specialized equipment.47 This made it easier for more people to fansub because of the lower cost barriers to becoming a fansubber. The internet also meant that fans could meet from around the world, thus making it more likely that fansub groups would form. Today, groups now make digital video files instead of videocassettes.
  • Fansubbed videocassettes offered a poor quality picture and sound that encouraged fans to buy the licensed product when it came out and also limited the number of copies that could be made from a single original cassette (or from 2nd and 3rd generation cassettes).49 Digisubs offer a quality comparable to official (DVD) releases and the ability to make limitless copies.
  • Fansubbers then “release” their fansubs to fans. Distribution happens through all of the regular internet channels, including p2p services (Kazaa, eMule, etc), BitTorrent, IRC, and newsgroups.
  • Lessig essentially asks the question, “Do our laws stifle creativity and sharing to the point where it harms society?”78 Some point to fansubs and anime as part of the answer to this question—when a company allows some illegal activity it actually benefits.
  • Unfortunately for fansubbers, copyright law does not condone their activities.80 International copyright treaties such as the Berne Convention, state that its signatories (such as the United States and Japan) should grant authors the exclusive right to translation.
  • copyright law construes translations as “derivative works”.82 Derivative works are any work “based upon one or more preexisting works.
  • The Japanese legal system may also, as a practical matter, discourage litigation towards fansub groups within Japan,
  • Within Japan, fansubs could potentially be within the law because the Japanese take a more relaxed attitude towards some aspects of copyright law and include private use and non-profit exceptions into their law.
  • For infringements outside of Japan, it is no small wonder that Japanese companies do not bother with the expense of enforcing a right against a group whose infringement affects a distant market with a different legal system.
  • In his article regarding selective copyright enforcement and fansubs, Kirkpatrick argues for a fair use defense under U.S. law for fansub activities based on the cross-cultural value of translations, the non-commercial nature of fansub groups, and the potential market enhancement for the original work.
  • The fact remains that fansubs may create a preferable product for otaku—thus decreasing any market enhancement arguments.
  • One wonders what could be easier than a few clicks of the mouse and a few hours (or less) wait for a file to download, for free. Many video files deliver comparable picture quality and fandubs do exist.
  • Regardless of any potential defense, the law sufficiently tilts towards copyright holders so that they can easily use the threat of suit as enforcement.
  • The sheer cost of defending a copyright suit makes for a powerful incentive for fansubbers to settle, especially since fansubbers make no money from their activities and are unlikely to have any assets.
Claudia Márquez

U.S., Japanese Publishers Unite Against Manga Scan Sites - Anime News Network - 1 views

  • The Japanese Digital Comic Association is reportedly threatening legal action against 30 scanlation sites, whose names were not revealed.
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