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@EARTHM0VERRR めっちゃわかるー。自分は遊戯王のコマ割りが大好きです！

Been thinking abt how Furudate’s paneling in Haikyuu is genuinely elite and lowkey some of the best in the medium The way rallies flow, the use of space, the timing of spreads, everything feels so natural and dynamic in a way that’s perfect for a volleyball manga

これガチで美味い

nice explainer from claude In English, "art" does heavy rhetorical lifting. When English speakers call something "art," they're not just describing its medium — they're making a status claim. Art is something that has inherent cultural value, deserves to be preserved, belongs to human heritage, and transcends its commercial origins. There's a whole lineage behind this: "film is art" was a battle fought in the mid-20th century specifically so that films would be taken seriously, archived, studied, and protected from being destroyed by studios who saw them as disposable products. "Games are art" is fighting the same fight. So when preservation advocates say "games are art," the unspoken second half of that sentence is "...and therefore they deserve the same protections and respect we give to paintings, films, and literature." The word carries a built-in moral argument. "Entertainment" in English, by contrast, carries an implicit concession. It suggests something that's merely fun — enjoyable but disposable, commercial, consumed and forgotten. Calling a game "entertainment rather than art" in an English-language debate is almost always a move to lower its status, to say it doesn't deserve the institutional protections we afford to art. It's dismissive. In Japanese, the landscape is quite different. The relevant terms carve up the space in ways that don't map neatly onto the English art/entertainment binary. 芸術 (geijutsu) is the closest equivalent to "art" in the high-culture, fine-art sense — painting, sculpture, classical music, literary fiction. It's a very elevated category. Most Japanese speakers would not naturally apply 芸術 to a mobile gacha game, and honestly, most English speakers wouldn't call a mobile gacha game "fine art" either. The difference is that English has a broader, fuzzier use of "art" that sits below "fine art" but still carries preservation-weight. Japanese doesn't really have that middle register with the same rhetorical power. 娯楽 (goraku) means entertainment, amusement, recreation. This is where games comfortably sit in most Japanese discourse. But here's what gets lost in translation: 娯楽 is not a pejorative in Japanese the way "mere entertainment" can be in English. It doesn't mean "worthless" or "disposable." Plenty of things Japanese culture deeply values and takes seriously — manga, anime, games — live under the 娯楽 umbrella without anyone feeling that diminishes them. You can pour love into 娯楽. You can respect 娯楽. It just doesn't automatically activate the "therefore it must be preserved for posterity" framework that "art" does in English. 作品 (sakuhin) is perhaps the most important term here, and it has no clean English equivalent. It means "work" or "piece" — as in a creative work. Japanese speakers absolutely call games 作品, and doing so conveys respect for the craft, the creators' effort, and the quality of the experience. It acknowledges creative labor and value. But 作品 doesn't carry the same institutional preservation mandate that "art" does in English. A 作品 can be deeply beloved and still be understood as something with a natural lifecycle that ends. So here's where the miscommunication happens. When a Japanese user says "games are 娯楽, not 芸術" and this gets translated or paraphrased as "games aren't art, they're just entertainment," it sounds in English like they're saying games are worthless trash that nobody should care about. That's not what they're saying. They're saying games belong to a category that is valued, enjoyed, and respected — but that doesn't come with an automatic expectation of permanent institutional preservation against the wishes of the rights holder. Meanwhile, when English-speaking preservation advocates say "games are art," Japanese listeners may hear them reaching for 芸術 status for a mobile gacha game, which sounds absurdly grandiose — like claiming a fun phone game belongs in a museum next to Hokusai. Both sides are essentially talking past each other because the English word "art" bundles together "this has creative value" and "this must be preserved forever" into a single concept, while Japanese vocabulary keeps those ideas more separate. A Japanese fan can simultaneously believe a game is a wonderful 作品 that they love deeply and that it's 娯楽 whose lifecycle is the company's decision to make — without feeling any contradiction. In English, that combination sounds incoherent because "it's art" and "it's okay to let it die" feel like they can't coexist. There's also a deeper cultural layer: the concept of impermanence (無常, mujō) runs through a lot of Japanese aesthetics. The idea that beautiful things end — and that their ending is part of what makes them beautiful — is deeply embedded in the culture, from cherry blossoms to tea ceremony. This doesn't mean Japanese fans don't grieve when a game shuts down; they absolutely do. But the grief and the acceptance can coexist in a way that feels more natural in Japanese cultural framing than in a Western one, where the instinct is more often to fight the impermanence, to insist that valuable things should be saved. Ironically, NieR as a franchise is deeply invested in exactly these themes — cycles of loss, the futility and beauty of fighting against inevitable endings. The whole debate is almost a meta-commentary the series could have written itself.

I feel like one thing that is often missing outside of Japan is the sheer 「Love and Affection」 fans hold for the creators. Buying a genuine copy isn't always just about wanting to consume it, like buying food simply because you're hungry. It's a way to express our sincere gratitude to the creators for bringing this wonderful work into the world. This is especially true when it comes to small indie teams or doujin game circles. Sometimes, playing the game itself is secondary, it’s about adoration and the genuine wish for the creators to be happy, to eat well, and to keep doing what they love, funded by our support. In fact, some dedicated fans even go as far as buying three copies of the exact same game (one to play, one to display, and one to keep as a backup!) just to maximize their contribution. This feeling goes beyond just games and applies to manga, novels, and all forms of art. I completely understand that there are real barriers to supporting officially, financial struggles, lack of local distribution, or items being strictly 「Japan Only」 thanks to convoluted licensing shenanigans. But I've seen that when someone has that deep love and affection, no matter the international shipping costs, having to navigate proxy services to import those items, or the hurdles, they will eventually find a way to hold that physical copy in their hands. I just hope that whenever people finally get the chance or the means to support the official release, they choose to do so. It’s not about the cold, cynical logic of 「buying used or pirating is the same because the dev gets $0 either way」 It's entirely about that love and affection. Though, I have to admit, I think part of the reason this love and affection is fading nowadays, especially towards modern Western game companies is largely due to their own corporate management. It’s hard for players to give affection to recent games when it feels like the games themselves were made without an ounce of passion, acting only as soulless tools to squeeze money out of us. (;´ - `;)

@DragonsNests @BarrellTitor44 @synthicyde @sasori_yokuneru @LordTash2 その西洋の論理は理解できる。でも実際に日本人がどう思うかは別じゃない？リィンカネはオンラインサービスのゲームが現状プレイ出来ないだけで、公開が終わったばかりの映画を勝手に配布してるようなもんじゃん。日本だと我慢するのが一般的な意見かな。次の作品が生まれるためにね

@TWD_of_ra @BarrellTitor44 @synthicyde @sasori_yokuneru @LordTash2 In the West, the prevailing opinion is that games are art. They are the work of a creative person, used to express something. Would you say that books aren't art, when the same process is used for them?

NieR Reincarnation プライベートサーバーの問題ってさ、日本以外のほとんどの人が著作権法とか商標法、不正競争防止法っていう法的概念を知らないし問題だと思ってないらしい。 彼らは義賊の素晴らしい行為だと言っていて、興味深いんだよね。 文化の違いだよ。

@BarrellTitor44 @synthicyde @sasori_yokuneru @LordTash2 ごめん、自分は日本人だからかあまり芸術とは思って無いのかも。そういう側面もあると思うけど、家電みたいな商品とか、権利者から貸して貰ってるサービス的な感覚。所有権では無く利用権。 同人誌はグレーだけど見逃して貰ってるイメージ。原作者がNOと言えば扱えないからかなり慎重にやってると思う

See I don't understand that second part, maybe it's lost in translation, but it seems a bit aggressive. Why does somebody have to ask me to preserve something? Why does the author get ultimate decision of what people do with the art? Art transcends the author. Once art is brought to the world people want to honor it, preserve it, and I think it's a disservice to be against this You think of piracy in the moment, but think of the butterfly effect. How many of the current western customers would be customers at all if there was no piracy? Probably not many Also, what about doujinshi? Isn't it just as wrong to use copyrighted characters?

パリとアトレティコか。パリバイエルンとか観たすぎるから頑張ってくれ

@BarrellTitor44 @synthicyde @sasori_yokuneru @LordTash2 あはは、確かに消えるのは勿体無いよね。 でもそれって未来人にでも頼まれたの？それとも作者？勝手な事をする人がいると秩序が無くなる。ちょっと越権行為に感じるよ 個人的には、バレずにこそっとやる分にはまだ良いと思うけど、日本の皆が怒ってる理由はそう言う事だと思うよ。

This is completely different as the final chapter of Hunter X Hunter does not exist yet, and you won't get to read that book because nobody preserved it so it does not exist anymore. All of the media that is pirated already exists/still exists and people are trying to stop it from dying. There is no preservation without availability. Library of Alexandria didn't do much good at preserving given it kept everything in one place. This is digital media, it is not a physical item that can be stolen. It is perfectly legal to create copies of famous paintings and even sell them, how is this different?

@Luseraphiel @kanata_7793 でもそれってお金を払った人からしたら馬鹿みたいだし、クリエイターからしても馬鹿らしくなるよ…日本以外では現実的に諦めてるのかもしれないけど、本来報酬が欲しいはずだよ。結局はメディアが届かない事が問題だから、払えない仕組みを改善するしか無いんだろうけどね

@TWD_of_ra @kanata_7793 That's fine. People in the West like Japanese media and most pay for it, but when paying for it is inconvenient, we'll just pirate. When official convenience return, we pay. It's not about stealing to not pay, it's that we're going to enjoy the media no matter what.

Theres the whole like japanese perspective on media piracy argument going on, and the one thing i keep seeing is "but do you not realize that pirating harms the company?" and I dont think alot of them realize in the west we LOVE seeing companies get harmed, even ones we like

@BarrellTitor44 @synthicyde @sasori_yokuneru @LordTash2 私もハンターハンターの最終話を読めずに死ぬかもしれないし、500年前の失われた本を読めないよ。仏教で言う諸行無常だよ。 保存は確かに大事だけどSEがまだ持ってるじゃないか。それってちょっと余計なお世話かも。それに保存するだけじゃなくプレイできるよう公開しちゃってるのは何故？

@TWD_of_ra @synthicyde @sasori_yokuneru @LordTash2 You preserve old japanese temples, urns, swords, yet preservation of current cultural phenomena is not important? Plenty of history is lost to time specifically because nobody recorded or preserved it properly during the right time

@synthicyde @sasori_yokuneru @LordTash2 まあ、愛ゆえに良かれと思ってやってくれてるんだろうけど、ちょっと時期尚早だったかもね。スクエニが倒産したとかなら分かるよ笑

@sasori_yokuneru @LordTash2 But this Nier project is preservation as well. Do you not see that?

Xは対戦型ツールというのは本当だったんですね

@Luseraphiel @kanata_7793 独立してる感じだよ。海賊版シーンが存在して世界から無くならないのは理解してるけど、俺らに合わせろよ日本人！って意見は賛成できないかな。日本では20年程前から海賊版をシャットアウトする方に舵をきったからね。海の向こうで自由にしてくれていいけど、日本ではSEの肩を持つ人が多いってだけだよ

@kanata_7793 You guys are like 15 years behind because you've been in a digital bubble since the 90s. The rest of the world already had all these conversations in the 2000s, the result being that every nation in the world has a piracy scene. The US aren't even the ones who pirate most.

@AMildSpaceSpice 興味深いね。そういう企業は労基署に通報すれば一発で停止させられるけど、やはり言語の壁が厚いのかな。だけどまるで日本全体がそうだ、という風に言われると主語が大きいと感じるよ。例えば東京と鹿児島じゃ労働環境はまるっきり違うしね。過労死する前にそんな職場は去るべきだよ

@TWD_of_ra it happens a lot especially with foreign workers in japan they hire from overseas under false pretenses of a better life more often than not they're exploited, and worked to death, and the japanese system isn't there to protect them since they're not citizens

こういうステレオタイプはいつの情報なんだ笑　少なくとも10年以上前の話だよ

3800gを分娩室に入って1時間くらいで、しかも初参で産んだウチの嫁はやはり異常だったのか。助産師さん達からも「こんな声もあげずに産んだ人は初めてです」とか言われてたし。産後1ヶ月でまた産みたいとか言ってるし

日本では企業は消費者の奴隷じゃないよ。余計な仕事増やされて現場で過労死するのはクリエイターだ。それにこれが30年前のゲームならまだ気持ちは分かるけどリィンカネはまだ2年だよ！焦る必要なんて無い。

@AMildSpaceSpice わお、それは災難だったね。。。勿論全く無いとは考えてないし、特にクリエイティブな業界ほどそういった事が多い事も知ってる。だけど大多数の日本人は普通に働いて残業代も貰ってるよ(生活残業なんて言葉もあるくらい笑)知り合いで残業代貰えない人なんて聞いた事も無いし日本は従業員の権利が強いよ

@TWD_of_ra not really, it's still an issue in japan even today i've known personally content creators in japan who worked for a company by contract didn't get paid properly after being overworked, and this was only several years ago, and they couldn't complain due to NDA

@accordstome 飢餓ってのがよくわからんな。別にゲームなんてやらなくていい人生のおまけみたいなもんになんでそんな必死なの。それに大企業崇拝なんて誰もしてないよw 日本は比較的企業と従業員、それに消費者の関係が良いだけ。法律が道徳を決めるなんてのもナンセンス

I might have to mute nier until this passes, as much as I want to be respectful I cannot stand corporate worship to the degree where people think it's morally wrong to steal from large companies if you are starving and think law and authority dictates morals

@solicitorpirate @SensOfKnowledge @AbstractSavior 個人的にその現状は理解してるよ。ただ日本のクリエイターでそれは少数派かもね。特にゲームなんかは芸術というよりもっと商業的な感じだから、、タダで許可無くサービスを享受するのは、食い逃げとかに近いかも。デジタルだから物質的な損失は無くても、金を払わないなら観客じゃないって感じだよ

@TWD_of_ra @SensOfKnowledge @AbstractSavior It's actually somewhat common for Western creators to encourage fans to pirate their work when its no longer legally available. They aren't losing money or being hurt, and it ensures the work they poured all their effort into survives and entertains future audiences

it really is shocking to see how many of our friends from JP who are just, completely allegiant to authority. i really am doing my best to respect the cultural difference here, i just wish i could understand the outright refusal to see this as anything other than "theft"