Azawariah

Et sinon, on en parle des voteurs fous ???

Northwestern University researchers developed modular robots using AI that can adapt to damage and navigate unpredictable terrain, according to a new study

Une traversée du désert de près de 1 200 kilomètres — la terre que Johnny Joestar et Gyro Zeppeli s’apprêtent à défier abrite la zone redoutée par tous sous le nom de "Paume du Diable". STEEL BALL RUN JoJo's Bizarre Adventure 2e ÉTAPE arrive en 2026.

Libéraux mais pas naifs. Sans un certain degré d'homogénéité, une société ne peut pas fonctionner. Les deux pays les plus libéraux au monde, la Suisse et Singapour contrôlent fortement l'immigration peu qualifiée et cartonnent. Les États-Unis ont fermé quasi complètement leur immigration entre 1910 et 1965 et s'en sont très bien sortis. David Lisnard et Sarah Knafo, les deux principales figures politiques du libéralisme économiques en France prennent le problème sérieusement. Nous proposons de taxer fortement les visa de travail comme vient de le faire Takaichi au Japon. Si une entreprise pense qu'une personne étrangère justifie un fort investissement, cette personne est très probablement un net positif pour notre pays. Si nous laissons à l'Etat le privilège de choisir l'immigration, ce sera forcément l'idéologie qui prévaudra et non pas l'intérêt des français. Par contre, on ne le répètera jamais assez, si le RN socialiste vient au pouvoir, ils décrédibiliseront totalement les politiques sérieuses sur l'immigration. Ils tenteront, peut-être, de mettre en place une politique d’immigration choisie. Mais son programme économique socialiste plongera le pays dans une crise d'une violence dont la plupart des Français n'ont pas la moindre idée. Tout le monde associera alors politique d’immigration choisie avec désastre économique. Il est essentiel de libérer le pays des normes et des impôts pour bâtir une économie florissante qui permettra d’avoir l’aplomb pour reprendre en main sa politique migratoire. La prospérité économique est la base de tout. On ne construit pas un pays souverain sur du sable.

This may be a somewhat unfortunate observation, but the Japanese manga industry does not pay much attention to overseas markets. In a way, this situation is remarkably similar to Hollywood up until the 1980s. Hollywood films were global hits, yet their storytelling and visual style were clearly created primarily for American audiences and the domestic market. The reason becomes clear when you look at the revenue structure. The global manga market can be roughly divided into $5 billion in Japan’s domestic market and about $6 billion overseas. In terms of market size alone, the overseas market is actually larger than Japan’s domestic market. (Of course, the data may not be perfectly precise, and I appreciate your understanding.) However, from the perspective of mangakas, the situation looks very different. In Japan, royalties on tankōbon (collected volumes) are typically around 10%, whereas overseas royalties are usually only about 3%. This means that the total expected royalty income for Japanese manga artists is approximately: $500 million from the domestic market, but only about $200 million from overseas markets. (In reality, the situation is more complex—since not all domestic revenue comes from print volumes, and e-book royalty rates differ—but the overall conclusion remains the same: domestic earnings exceed $500 million.) If we look specifically at North America, the Japanese manga market there is about $1.1 billion, yet the expected returns to Japanese creators are only about one-fifteenth of what they earn in the domestic Japanese market. In short, while the overseas market is large, the income flowing back is relatively small. This is even more pronounced from the perspective of publishers. Because of this, Japanese manga—like Hollywood films before the 1990s—are not created with strong consideration for overseas audiences. Hollywood only began to seriously consider international audiences when direct distribution expanded in the 1990s. From that point on, the concept of “well-made” productions, designed for global appeal, began to emerge. Similarly, if Japanese manga begins to directly reach overseas markets through digital platforms, creators will naturally start to place greater importance on international readers. People often believe that works themselves shape the market—but in reality, it is usually the market that shapes the works and the mindset behind them. And in the 21st century, markets are shaped by VISION AND FORESIGHT. I recently saw an article suggesting that the Japanese government—specifically the Ministry of Education—is attempting a bold initiative in this direction. What will the future of manga look like? No one can say for certain. But it is clear that Japanese creators, readers, and publishers all need to begin preparing. Perhaps those who need to prepare the most are the existing overseas manga publishers. Every change is an opportunity. I hope you will keep that in mind and prepare for what lies ahead. Thank you so much for taking the time to read this long message. 5/5 P.S. I was planning to end this long message here, but as I was writing, a few more thoughts came to mind—so I’d like to continue a bit further.^^

You still can’t hit 🙃

TRIPLE DOMAIN EXPANSION SCENE DID FUCKING MIRACLES ON MEEEEEEE

🔴 Jean-Michel Aulas, doyen du conseil, a remis l'écharpe de maire à Grégory Doucet

Might be crazy to say but dis is modern day dragon ball

Peut on arrêter avec la légende des fruits et legumes hors de prix qui semble surtout être une excuse pour se justifier de manger de la merde ? La quasi totalité des produits de saison se trouvent à 2 euros du kilo

the contrast is insane