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Wyvern



Joined: 01 Sep 2004
Posts: 1796
PostPosted: Tue Apr 21, 2026 5:45 pm Reply with quote
Gem-Bug wrote:
There's really no reason why they can't move the online release date up to after the theater weekend or something.


There absolutely is. Theaters expect some level of exclusivity for what they're showing. It's an essential part of the business, and has been since the invention of VHS tapes. There's a new Toy Story movie coming out soon; do you expect it to show up on Disney Plus the weekend after it hits theaters? Of course not; everyone knows that's not how this works, so why expect TADC to be any different?

Honestly, the fact that Glitch was able to get this into theaters with only a two-week exclusivity deal is kind of a miracle. Usually theaters demand at least eight weeks, and that's for major releases from huge Hollywood studios. A little indie studio like this being able to hold them to just two weeks is incredible.

Quote:
and those that can't have to survive spoilers(and people who like to spoil on purpose) for two weeks is a big "fudge you" to those fans.


So stay off of Twitter for two weeks. It'll make your life better, I promise.

And no, it's not an insult to fans, and honestly, fans in general need to get over themselves and stop thinking that every move a creator makes is all about them. Because I promise you, most writers (and virtually ALL good writers) do not waste their time trying to appease the fans. Their job is to tell a good story, put it out there, and you do with it what you will.

A lot of fans are going to have the time of their lives seeing TADC in the theater. I'm not going to be one of them, but I'm happy for the people who get to see it, and I'm happy that Glitch has reached such a remarkable level of success. If this theatrical showing sells as well as expected, it could fund two or three entire new series. Anyone who cares about animation should be excited for that.
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Joe Mello



Joined: 31 May 2004
Posts: 2567
Location: Online Terminal
PostPosted: Tue Apr 21, 2026 9:46 pm Reply with quote
Wyvern wrote:
A lot of fans are going to have the time of their lives seeing TADC in the theater. I'm not going to be one of them, but I'm happy for the people who get to see it, and I'm happy that Glitch has reached such a remarkable level of success. If this theatrical showing sells as well as expected, it could fund two or three entire new series. Anyone who cares about animation should be excited for that.

My two precise concerns about TADC in theaters are:
1)Bags of money need to go to everyone involved in making the show, not just the Glitch higher-ups
2) While there may be different motives, it feels very much like where anime is at now, where an increasing amount of shows for television (and streaming) are becoming reliant on film. If animation can't make money on smaller screens despite the unprecedented demand for it, that feels like another sign that the bottom is going to drop out shortly.

The fact that there will be a TADC film screening doesn't bother me at all.
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Ruprecht



Joined: 03 Nov 2025
Posts: 29
PostPosted: Wed Apr 22, 2026 6:49 am Reply with quote
Social media itself doesn't suck it's just the fact a lot of people in the world suck that makes it bad by consequence of having to interact with people on social media. Social media has been a great tool to connect people around the world and encounter all kinds of novel and new things but it also gives anyone and everyone a voice. The reality we live in now with how necessary it is to our jobs if we're in the creative field make it invaluable. As an artist myself I've gotten plenty of hate and had the wonderful honor of becoming public enemy #1 of a certain fandom recently for daring to make slightly suggestive art of the female character and it's been really fun watching people making callout videos of me that get millions of views trying to rally people to "take me down" to "protect the fandom". I can't help but laugh at the absurdity of it all and don't really feel the 'harassment' myself but that is just my own feelings and I'm sure other people take it a lot more personally. I just can't take them seriously at all and simply call them stupid and ignore them.

I find it more tolerable to stick to the Japanese side of social media since they generally lack the people who are responsible for all these cases of harassment being brought up. Not that Japanese fans don't have their own issues or controversies but all the cases here are clearly western fans imposing their own cultural or political ideas onto Japanese artist. Unfortunately it's become more common for Japanese mangaka, especially the younger ones, to be more exposed and involved with their overseas audience which leads to this kind of stuff. It's easy to understand why many manga choose to remain as anonymous as possible.
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ATastySub
Past ANN Contributor


Joined: 19 Jan 2012
Posts: 846
PostPosted: Wed Apr 22, 2026 7:07 am Reply with quote
Ruprecht wrote:
Social media itself doesn't suck it's just the fact a lot of people in the world suck that makes it bad by consequence of having to interact with people on social media. Social media has been a great tool to connect people around the world and encounter all kinds of novel and new things but it also gives anyone and everyone a voice. The reality we live in now with how necessary it is to our jobs if we're in the creative field make it invaluable. As an artist myself I've gotten plenty of hate and had the wonderful honor of becoming public enemy #1 of a certain fandom recently for daring to make slightly suggestive art of the female character and it's been really fun watching people making callout videos of me that get millions of views trying to rally people to "take me down" to "protect the fandom". I can't help but laugh at the absurdity of it all and don't really feel the 'harassment' myself but that is just my own feelings and I'm sure other people take it a lot more personally. I just can't take them seriously at all and simply call them stupid and ignore them.

I find it more tolerable to stick to the Japanese side of social media since they generally lack the people who are responsible for all these cases of harassment being brought up. Not that Japanese fans don't have their own issues or controversies but all the cases here are clearly western fans imposing their own cultural or political ideas onto Japanese artist. Unfortunately it's become more common for Japanese mangaka, especially the younger ones, to be more exposed and involved with their overseas audience which leads to this kind of stuff. It's easy to understand why many manga choose to remain as anonymous as possible.

Hard to take any of this seriously when it’s so intentionally vague and full of buzzwords, and also starts with the lie that you’re an “artist” when your post history reveals all you’ve done is use AI. Ironically revealing the exact kind of person that poisons social media and any discussions around it.
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Twage



Joined: 29 Jul 2003
Posts: 380
Location: North Bergen, NJ
PostPosted: Wed Apr 22, 2026 8:46 am Reply with quote
Ruprecht wrote:
I find it more tolerable to stick to the Japanese side of social media since they generally lack the people who are responsible for all these cases of harassment being brought up. Not that Japanese fans don't have their own issues or controversies but all the cases here are clearly western fans imposing their own cultural or political ideas onto Japanese artist. Unfortunately it's become more common for Japanese mangaka, especially the younger ones, to be more exposed and involved with their overseas audience which leads to this kind of stuff. It's easy to understand why many manga choose to remain as anonymous as possible.


I'm sorry to have to reveal to you that Japan has plenty of homegrown online harassment, particularly if you're a performer or artist, and does not need to depend on us gaijin to corrupt their purity.

https://unseen-japan.com/fujisaki-nagi-home-breakin/
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Gem-Bug



Joined: 10 Nov 2018
Posts: 1528
Location: Nova Scotia, Canada
PostPosted: Wed Apr 22, 2026 10:36 am Reply with quote
Wyvern wrote:
So stay off of Twitter for two weeks. It'll make your life better, I promise


I don't use twitter or bluesky. The rest of your response is basically "How dare you get in the way of industry and making as much money as possible". Cool, if that's what really matters.
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Hellsoldier



Joined: 21 Jun 2013
Posts: 1169
Location: Porto,Portugal,Europe,Earth,Sol
PostPosted: Wed Apr 22, 2026 11:49 am Reply with quote
Ruprecht wrote:
Social media itself doesn't suck it's just the fact a lot of people in the world suck that makes it bad by consequence of having to interact with people on social media. Social media has been a great tool to connect people around the world and encounter all kinds of novel and new things but it also gives anyone and everyone a voice. The reality we live in now with how necessary it is to our jobs if we're in the creative field make it invaluable. As an artist myself I've gotten plenty of hate and had the wonderful honor of becoming public enemy #1 of a certain fandom recently for daring to make slightly suggestive art of the female character and it's been really fun watching people making callout videos of me that get millions of views trying to rally people to "take me down" to "protect the fandom". I can't help but laugh at the absurdity of it all and don't really feel the 'harassment' myself but that is just my own feelings and I'm sure other people take it a lot more personally. I just can't take them seriously at all and simply call them stupid and ignore them.

I find it more tolerable to stick to the Japanese side of social media since they generally lack the people who are responsible for all these cases of harassment being brought up. Not that Japanese fans don't have their own issues or controversies but all the cases here are clearly western fans imposing their own cultural or political ideas onto Japanese artist. Unfortunately it's become more common for Japanese mangaka, especially the younger ones, to be more exposed and involved with their overseas audience which leads to this kind of stuff. It's easy to understand why many manga choose to remain as anonymous as possible.


The physical attackers of idols in Japan are, most curiously, Japanese.
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Top Gun



Joined: 28 Sep 2007
Posts: 5309
PostPosted: Wed Apr 22, 2026 1:30 pm Reply with quote
justsomeaccount wrote:
In regards to the social media necessity: it is necessary for many of them to survive, a lot of times a viral tweet about their series or image may be the difference between continuing or be cancelled. For example, Miyazaki Asuka (author of 人としてつき合えたら, 'if we could speak like people') often relies on their series's snapshots posted on X and the discussion that surges that allows many people to discover it and have the sales bump they need to continue the series. Another author, Mitsunori Zaki (author of ナースの取扱説明書, 'Nurse report'), was lucky that before the first volume went to sale he posted the third chapter on X (about sexual harassment to nurses) which went viral and had a newfound attention that gave the series a huge initial bump that now it's settled. There are series that win or fall regardless of that, but it's a huge tool in the current panorama, which is also why it's hard for them to move out of X since it's where most people are and in others like bsky there are very few. They have it tough.

I fully acknowledge the fact that I'm a Certified Internet Boomer at this point, but man, I just cannot fathom getting into an anime or manga series solely by virtue of a social media post blowing up. Maybe I'm just weird (entirely possible!), but pure visual style is probably the element I put the least amount of emphasis on when deciding what to watch. What does get me interested are the impressions and reviews of people who know what they're talking about, like here on ANN for instance.

That's more of a side topic though. What really floors me is the idea that any professionally-published author should be expected to be out there on social media self-promoting as the deciding factor between their work's success and failure. Like, isn't that a huge part of their publisher's responsibilities, what with their dedicated marketing departments and budgets and such? If their publisher isn't pulling their weight in that regard, then maybe it's time to find a new one who offers those benefits. Because if you're doing all of the legwork yourself, at that point you almost might as well be self-publishing online.
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Mohawk52



Joined: 16 Oct 2003
Posts: 8204
Location: England, UK
PostPosted: Wed Apr 22, 2026 3:51 pm Reply with quote
Social Media will be the the death-knell of our species. It's a parasitic worm that infects the brain. Avoid at all cost.
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Nekbone



Joined: 28 Dec 2023
Posts: 215
PostPosted: Wed Apr 22, 2026 4:58 pm Reply with quote
ATastySub wrote:
Hard to take any of this seriously when it’s so intentionally vague and full of buzzwords, and also starts with the lie that you’re an “artist” when your post history reveals all you’ve done is use AI. Ironically revealing the exact kind of person that poisons social media and any discussions around it.


I would say that the people harassing and threatening people are the ones who poison social media not the people who just post AI artwork. I really hope we're not already at the point where people hate AI so much they think harassment is the moral high ground of the two. Personally I would gladly trade the puritans who harass artists for creating problematic art for more AI artist accounts.

Anyway, it's unfortunate what happened to Syundei, Urana, and the other examples. I disagree with the column writers attempt at deflecting responsibility by stating it's ok to hate and bash media and authors so long as you don't @ the creators directly though. That stuff still creates a toxic environment and discussion and it will inevitable boil over to them in the end. We've seen what hateful language and rhetoric creates and how it emboldens the more crazy people in society into doing it themselves so perpetuating the behavior of calling an author a pedophile, sexist, anti-LGBT, or other labels because they made a work you didn't like is still bad even if you avoid doing it to their face directly. Someone who reads your piece will inevitably do so because you put forth the idea that whatever insult you made must be a fact. Just something for people to think about the next time someone is tempted to insult a creator which is unfortunately quite common in the anime fandom.
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Ruprecht



Joined: 03 Nov 2025
Posts: 29
PostPosted: Wed Apr 22, 2026 6:34 pm Reply with quote
ATastySub wrote:
Hard to take any of this seriously when it’s so intentionally vague and full of buzzwords, and also starts with the lie that you’re an “artist” when your post history reveals all you’ve done is use AI. Ironically revealing the exact kind of person that poisons social media and any discussions around it.


I'm not sure what I was vague about. I can share some of the threatening emails and DMs I've gotten or the actual virus someone tried to send me but to be honest I don't want to make this topic about me and your seal of approval is not particularly crucial for me either. I just wanted to throw in my perspective as someone who's also been on the receiving end of progressives harassing people on social media. Take it in or don't. It's not that big of a deal. I'm just a random guy like any other.

Twage wrote:
I'm sorry to have to reveal to you that Japan has plenty of homegrown online harassment, particularly if you're a performer or artist, and does not need to depend on us gaijin to corrupt their purity.


I already said I know Japan has it's own issues. However, the things that got these artists harassed are not part of them. You do not have to worry about Japanese users calling you a pedophile, a racist, a sexist, transphobic, or anything along those lines. All the people going after Japanese artists for that are strictly westerners. I maintain my stance that my social media experience has been a lot nicer sticking to mostly Japanese accounts since I don't have to see stupid fandom discourse like people threatening you if you don't confirm someone's headcanon that a character as transgender like Kei Urana or drawing an age-gap relationship stuff or fanservice like Syundei. All the issues highlighted in this article are not concerns I see happen from Japanese users unless it's an expat account.
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justsomeaccount



Joined: 24 Oct 2014
Posts: 553
PostPosted: Wed Apr 22, 2026 6:57 pm Reply with quote
Top Gun wrote:
I fully acknowledge the fact that I'm a Certified Internet Boomer at this point, but man, I just cannot fathom getting into an anime or manga series solely by virtue of a social media post blowing up. Maybe I'm just weird (entirely possible!), but pure visual style is probably the element I put the least amount of emphasis on when deciding what to watch. What does get me interested are the impressions and reviews of people who know what they're talking about, like here on ANN for instance.

Huh? The cases I'm talking about are purely about the story or topic being interesting (as I alluded when I talked about discussion and a chapter about sexual harassment to nurses; the first series I mentioned in fact is practically all about asexuality and how it affects many things, so the snapshots are talks about different parts of the experience that make people talk about it on socual media) so it was reshared and went viral, not about visual style.

Top Gun wrote:
That's more of a side topic though. What really floors me is the idea that any professionally-published author should be expected to be out there on social media self-promoting as the deciding factor between their work's success and failure. Like, isn't that a huge part of their publisher's responsibilities, what with their dedicated marketing departments and budgets and such? If their publisher isn't pulling their weight in that regard, then maybe it's time to find a new one who offers those benefits. Because if you're doing all of the legwork yourself, at that point you almost might as well be self-publishing online.

[Note, a lot of this info is taken from Juan Albarrán's spanish podcast "Mangaka sin fronteras" where he, a spanish author who drawed Matagi Gunner [11 volumes] in Kodansha, tells about his experience]

From the editorial's point of view, they give you a platform that tens of thousands of people watch (so you have an initial big audience at least keeping eyes on the first published episodes) and distribute in libraries (physical and digital), making sure they handle all the stuff that isn't drawing like finances, volume layout, designs, distribution, etc. (self-publishing is super hard and expensive and will probably suck you dry within an already demanding drawing job where you want to live by drawing; very few can handle that). The fact that is published is also a guarantee of quality of the publisher for doing it in the first place (in like, it's not an amateur manga and they see some potential). And you are guaranteed that at least no expense is on you and you gain some money from the pages (which is admitedly few) and the royalties from the volumes. That is already a good starting point. They also make sure to polish as much as they can the chapters with the editor and boss-editor. But that's the minimum they do and mostly to test the waters to see if the series strikes a chord; more efforts, well it depends on the editor.

So you are given enough, but of course there's the problem that the series doesn't have a big following, whether because it hasn't interested them or it just hasn't reached the right passionate audience. In that regard for promotion it kinda depends of the editor: some make more effort than others, like manage a social media account (though ultimately this doesn't work too well because people prefer the human touch of an author or person, so the pressure still goes to the author), some try to get some people to recommend and promote the series (especially other authors if they can; Meaheim was promoted by Shiharama Kamome for example and with crossover art), use a gimmick to promote it (the mentioned Matagi Gunner used a lot the spanish artist for promotion since lots of people were surprised a foreign author who didn't speak japanese very well could make such a natural japanese-style series without feeling fake in some way; so Kodansha promoted that aspect about the advantages of working with foreign authors, which worked among other factors) or collaborate with some people of the niche maybe the series will appeal to. But others don't do that much and just see if it flies and if it doesn't well that's that.
So while I understand the logic of their business model, sometimes I also feel frustration about series that don't get enough extra promotion to grasp the potential pubilc that may love it but just don't know it, and quite a few people I loved were cancelled where I felt it could have been better promoted. I wish it was better, but it's still a way easier start than on your own.

Also sometimes those efforts pay off by part of the editorial team. Another example from Kodansha: Sentai Taboo [this info is from that podcast I mentioned earlier when he interviews the artist], an extreeeeemely edgy trashy sentai series that started on 2024, was only published on the main app (Comic DAYS) and the reception and 2 first volume sales were passable but kinda on the border. But then they decided to also publish the series on another Kodansha app (I forgot the name right now though) that is mostly followed by young teenage boys, and from the get-go the series was a hit there and quickly gained 80.000 followers, which also translated into volume sales from the 3rd onwards that made the series definitely safe (not the kind of sales that is going to appear in a top 50 list, but definitely rentable for Kodansha's aims). In this case they were right on putting it there since that's the public's main appeal, while other series published there (like the mentioned Matagi Gunner) didn't work at all on that app (but that series still sold decent enough that it could continue until its planned ending).

But at the end, with the absurd attention competency there is (hundreds of new volumes every week) and the advent of social media, it's hard to catch attention and if the series itself is not enough some authors have to or want to play that game (not all do though).This also tends to happen more with authors in smaller editorials: I remember Suda Shoko (the author of Pepperoni Vampyr, published in Mangabox which is a waaaay smaller app and editorial than Shueisha or Kodansha) telling kinda what you said, that is exhausting and kinda unfair to have to do all that work (they are another case where that social media calling worked to maintain their series afloat).
And sometimes even japanese people debate about some editorial's handling: Shueisha cancelled a Jump series called Chojo (apparently because the sales were so-so and it was on the bottom of the magazine polls for a while) right before the anime was announced and it got the 3rd place in the Next Manga Awards, which made a lot of people there weirded out and that maybe they should reevaluate their criteria for cancelling series or not.

Anyway, complicated, and sorry for the ramblings, but I hope you found it interesting.
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Mizlude



Joined: 30 Jun 2025
Posts: 78
PostPosted: Wed Apr 22, 2026 7:01 pm Reply with quote
Syundei has confirmed she will be removing content that offended westerners from her work going forward and has made a personal request to the anime staff of Ganbare Nakamura-kun to tone down even more content in the anime going forward so as to make more people comfortable watching it. It appears the bullies will get what they wanted in the end, if they even choose to read/watch the series anymore.

I've never watched it myself but according to the trending tab one of the TADC VAs is being harassed again due to a stream he did and comic artist Rachta Lin is being harassed for drawing an attractive woman on the cover of Absolute Batman #20 and has also apologized. The internet does seem to give all the worst people the loudest voices and rewards them for it as such.
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justsomeaccount



Joined: 24 Oct 2014
Posts: 553
PostPosted: Wed Apr 22, 2026 7:22 pm Reply with quote
Quote:
Syundei has confirmed she will be removing content that offended westerners from her work going forward and has made a personal request to the anime staff of Ganbare Nakamura-kun to tone down even more content in the anime going forward so as to make more people comfortable watching it.

From what I can gather from the tweet, the anime's toning down isn't "from now on" but asked from the beginning before the anime started. Her not wanting to represent more teacher-student relationships from now on is true though (she doesn't talk about westeners though).

But she also mentions the "recent rise of those kinds of crimes" and "we don't encourage teachers and students giving each other's address" has made me realized something I can't believe we hadn't considered: the recent case of the teacher/mangaka who groomed and sexually assaulted a high school girl, which was a HUGE scandal. I don't know how relevant it's to this since I didn't see it mentioned until those words in that tweet suggested it, maybe it's not, but just in case let's keep this in mind if it influenced this in some way we didn't realize.
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yeehaw



Joined: 09 Sep 2018
Posts: 884
PostPosted: Wed Apr 22, 2026 8:03 pm Reply with quote
What happened with Urana? My friend is still on the nazi site and followes Urana there and she hadn't seen any harassment, only people mad that some guy asked her if a discord with scanlations was legal which obviously caused her to have that discord destroyed which I found hilarious

Nekbone wrote:
ATastySub wrote:
Hard to take any of this seriously when it’s so intentionally vague and full of buzzwords, and also starts with the lie that you’re an “artist” when your post history reveals all you’ve done is use AI. Ironically revealing the exact kind of person that poisons social media and any discussions around it.


I would say that the people harassing and threatening people are the ones who poison social media not the people who just post AI artwork. I really hope we're not already at the point where people hate AI so much they think harassment is the moral high ground of the two. Personally I would gladly trade the puritans who harass artists for creating problematic art for more AI artist accounts.

Anyway, it's unfortunate what happened to Syundei, Urana, and the other examples. I disagree with the column writers attempt at deflecting responsibility by stating it's ok to hate and bash media and authors so long as you don't @ the creators directly though. That stuff still creates a toxic environment and discussion and it will inevitable boil over to them in the end. We've seen what hateful language and rhetoric creates and how it emboldens the more crazy people in society into doing it themselves so perpetuating the behavior of calling an author a pedophile, sexist, anti-LGBT, or other labels because they made a work you didn't like is still bad even if you avoid doing it to their face directly. Someone who reads your piece will inevitably do so because you put forth the idea that whatever insult you made must be a fact. Just something for people to think about the next time someone is tempted to insult a creator which is unfortunately quite common in the anime fandom.


AI is not art you are pressing buttons that hasten the death by climate disaster for millions of people. To paraphrase Tite Kubo: You have no talent and you don't make an effort, live off the rain and dirt.
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