#market resurgence

[dencyemily]

VeChain Sets Ambitious Price Goals: Analyst Forecasts VET's Rally to $3

VeChain's VET has exhibited remarkable 108% growth since September 23 but faces a 4.43% decline in January 2024, contrasting with the upward trends of Bitcoin and Ethereum. VeFam, a community-driven VeChain-focused account, sets ambitious VET targets at $0.5 in a bearish scenario, $1 in a neutral scenario, and $3+ in a bullish scenario. Despite the optimistic forecasts by VeFam, the volatile nature of crypto markets suggests cautious optimism for investors. VeChain, a significant player in the cryptocurrency market, is currently the subject of ambitious price predictions by VeFam, a community-driven account with a focus on VeChain. These forecasts, emerging during a period of market resurgence, outline potential price milestones for VeChain (VET) under different market scenarios. However, amidst this optimism, it is essential to examine the market dynamics and the realistic potential of these predictions.

VeChain's journey in the crypto market has resembled a rollercoaster. The token experienced a notable upswing of 108% from September to December 2023, climbing from $0.01 to $0.03. However, this impressive growth faced a minor setback in January 2024, with a 4.43% decrease in value. This decline contrasts with the continued growth of other major cryptocurrencies like Bitcoin and Ethereum, which have seen increases of 8.50% and 13.64%, respectively, during the same period.

VeFam's projections for VeChain are notably bullish. In the bearish scenario, VeChain is expected to reach $0.5, signifying a significant leap from its current value and marking a 1,424% increase. The neutral scenario suggests a potential rise to $1, a milestone VeChain has previously approached but not surpassed. The most optimistic, bullish scenario sets VeChain's price at over $3, requiring a monumental 9,049% increase from its current price. This would position VeChain among the top cryptocurrencies in terms of valuation. Notably, VET has been trading at $0.03296, according to CoinGecko data.

While these predictions present an optimistic outlook for VeChain, they come with a caveat. The cryptocurrency market is renowned for its volatility and unpredictability, making such forecasts speculative at best. Investors and market observers should approach these predictions with caution. The past performance of VeChain, combined with the dynamic nature of the crypto market, suggests that while these targets are not impossible, they are by no means guaranteed.

While VeFam's predictions for VeChain provide an optimistic view of its future, maintaining a realistic understanding of the crypto market's volatility is crucial. Investors and enthusiasts should perceive these projections as possibilities rather than certainties, considering the ever-changing landscape of the cryptocurrency world.

[unechienandalusia]

billionaires are so out of touch that they don’t understand that your average person will not pay for something they used to have for free if there is a competitor still offering it for free.

[shadfinite]

hey do u guys think rouge was in prime and dream team as a marketing tactic for sonic movie 3, thereby implying she will be in the movie

sega: we will put rouge in these games and then not explain why just so little kids know who she is :) marketing before writing <3

[dailynewsreporter]

Advertising Resurrection: The Surprising Rebirth in an Ad-Blocked Era (globalpostheadline.com)

In recent years, the advertising industry faced the threat of obsolescence, with ad-free streaming services and the rise of web ad blockers pushing it towards pariah status. However, the narrative has taken a dramatic turn, and today, major players like Netflix, Disney, and even unconventional entrants like United Airlines are exploring or expanding into the ad business. This shift is encapsulated by the mantra, "Everything is an Ad Network," as companies scramble to capitalize on attention as the new currency.

The Evolution of Ad Strategy

The about-face in attitudes toward advertising stems from various motivations. Some see it as a direct revenue generator, while others, especially streaming services, find that including ads allows them to attract price-conscious subscribers. Major retailers, inspired by Amazon's success, are carving out their space in the lucrative advertising market.

[mereviews44]

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[websterstylemag]

EP 150: It’s Been a Fun Ride

EP 149: A Pinup and Tom Ford – The Sartorial And Geek Podcast by Webster Style The Download: Star Trek ResurgenceThe Interview: Carmela Clutch (https://twitter.com/Carmela_Clutch)Review: The FlashFragrance of the Week: Bad Boy Extreme by Carolina Herrera Ways to Support Pete and Pedro: Use code EHAWKES10 or (https://bit.ly/3rClqHK) to get 10% off your first purchase. Basil and Sage:…

[inthefallofasparrow]

I feel like with this whole 'Goncharov' (1973) resurgence thing going on, too many people are completely ignoring the underrated book trilogy that the film is originally based on. They updated the time period and setting for the movie narrative, but it's basically the same story minus that ridiculous 'Ice-Pick Joe' henchman character which they added in for some reason, and the fruit market scene that preludes Katya and Sofia's affair is originally a flashback from 'Mob Love' between Katya and her childhood friend visiting from Petrograd.

[devsgames]

As a dev who didn't really follow Baldur's Gate 3's development I was incredibly surprised at the number of people who have been making really sweeping and baseless claims about its success: stuff like "the game is made well by people who are passionate", or claim that other devs "just have to make good games", or that it's successful "because it doesn't have microtransactions". It's not that surprising I guess since Gamers tend to say these things about any product they happen to like and agree with, but I guess it was surprising to me how much people were saying it about this game specifically.

I'm sure the devs were passionate and I've sort of been enjoying my time with it, but frankly the success of BG3 absolutely does not feel like a design or development thing to me, but it's an obvious marketing and business one.

Having a good game obviously very much helps, but the fact of the matter is that rhetoric like this intentionally overlooks or downplays the real industry success factors: that BG3 is the third game in an already-popular and established legacy CRPG series that is built on an engine and mechanics by a studio which already made two other (unrelated) financially successful games on of the same genre, with all of it built on a back of a TTRPG franchise that has for the past few years been undergoing a huge resurgence in popularity and in no doubt funded through that partnership and licensing deals. Franchises like safe bets to make a profit, and this feels like the safest of bets. It really isn't successful because the game isn't adopting user-hostile monetization or because it's approach is radically different from any other game's development, it's successful because all these business factors.

To that end, whenever someone implies that other devs should just make games the same way...it's really funny! Like, the stars have aligned to make this product a hit and this doesn't implicitly make it a bastion or model for equitable game development just because it sold well and doesn't adopt hostile monetization schemes.

The fact of the matter is there's lots of games that are well-made by passionate devs and don't feature microtransactions or hostile monetization schemes, and they don't implicitly do well because of these design decisions alone; usually it's because they failed at marketing or didn't have the AAA budget to promote themselves like BG3. I'm also willing to bet that like every AAA studio, the devs at Larian likely weren't equitably compensated for this success, since most productions on a game of such a massive scale like this only really turn a profit because they undercut those working on it - huge profit and equitable compensation aren't often compatible concepts in game development. It's not like that would be any different here, so the "other devs should look to this game on how it should be made ethically" is a strange pull to me as well.

Basically this is all to say I think it's incredibly reductive to hold a product up on a pedestal by virtue of sales figures and choosing not to enact hostile monetization schemes. After all, I'm severely doubtful a product like BG3 would have done poorly assuming it had microtransactions in the first place. There's just way too many other factors that guided it alonge.

Do we need big budget games to move away from predatory business models that attempt to exploit the most vulnerable players? Absolutely yes I think we do, but I think people would also value from staying aware of real factors at play that define success in these sorts of situations, and not reduce development to "why don't developers simply make GOOD video games!" which I think is fairly baseless and confirmation-bias-y in its own way.

[aeolianblues]

The weirdly life affirming thing about fandom and some of the adoration that comes with it, particularly as pertains to real people, is that fans will love all the parts of you. That what is deemed ‘marketable’ by the press release and everything else they left out. If you come from something, fans will keep it alive. A Sam Fender fan away in Nebraska, USA will learn the Geordie dialect to accurately write Sam Fender x reader fanfic. They will keep alive a dialect declining even in Newcastle. As long as someone knows it, it lives on. The more people into it, the more beloved it becomes; it has a resurgence, it carries on. A Kneecap fan in Indonesia whose third language is English decides Irish Gaeilge can be their fourth. The Eurovision fans decided they can learn all of Finnish after being drawn to one song about piña coladas (and the super endearing Käärijä!)

Fandom is so much more than some base lowly shit to be embarrassed about that people like to reduce it to. It’s a powerful mode of culture. It’s so much more than about writing ‘your silly little stories about your pathetic men’; fandom is the reason American Blur fans flew thousands of miles overseas to be at Wembley last summer. Fandom is checking your IG stories after that gig and seeing that other well-loved musicians also have the same story as you because they were at that gig too. It is months later hearing Grian Chatten from Fontaines D.C. say that part of their new song was inspired by going to that Wembley show, and knowing exactly what he meant by that.

It is about shared cultural moments, it’s about the realisation that nothing is ever strictly in the past, and that we are sharing and creating culture in the now. I don’t know where I’m going with this, I was just struck by the connection between culture and pop culture. Don’t let people tell you they’re different worlds, I suppose

[iww-gnv]

Tens of thousands of workers, from Hollywood writers and actors to hotel workers to UPS drivers, have taken part in the “summer of strikes.” These kinds of collective actions are likely to keep going well into the fall, experts say. Over 230 strikes have been recorded this year so far, involving more than 320,000 workers, compared with 116 strikes and 27,000 workers over the same period in 2021, according to data by the Cornell ILR School Labor Action Tracker. The resurgence is due to three key factors, says Alex Colvin, dean at the Cornell School of Industrial and Labor Relations: New union leadership to push for stronger deals, new and younger union members calling for better working conditions, and a strong labor market with low unemployment. “We’re seeing a confluence of a lot of labor activity in multiple areas, coming on the back of a surge in union organizing at places like Starbucks and Amazon” during the pandemic, Colvin says. “This is a noteworthy push on the labor side.” News of strikes and their resolutions create momentum. “When you see another union succeed, you’re more inclined to push yourself for a better deal,” he adds. “There’s a contagion effect in seeing the [strike] strategy working, and you’re more likely to use it yourself.”

[Read the rest]

[andreablog2]

I think you're response to brat is a little intense for what it is. it's a good dance album lol idk where this "nostalgia" arrested development thing is coming from dance pop and edm has been having a little moment since the pandemic started because people like dancing and covid killed the clubs + moody pop is leaving the cultural zeitgeist

Maybe it’s because the positive reception of brat has also been intense so I need to balance that out…but no I’m actually really pissed how easily marketed everyone is now and there’s no snobbery anymore. She built her career of clout and networking/association w lots of incredible artists and frankly comes off as spineless. Nostalgia and mainstream resurgence are the same thing and yes….you all have arrested development. Idk what this has to do with moody pop leaving the cultural zeitgeist bc chappel roan, Billie eilish Sabrina carpenter are having huge years and release very moody music. Also the sade trend? Moody is still here and brat is a very moody album itself. I don’t think it’s a bad album and I don’t think there aren’t compelling songs but overall as a body of work and as a cultural phenomenon….I think it’s producing a net negative and apart of a larger trend of these cult favorite pop stars needing to colonize every superlative….like I think charli is simply doing to much and two years ago Beyoncé did a dance album that actually broke barriers, showcased her singing ability, was thoughtful with poetic lyrics, came with an impeccably tasteful tour and performances….so now this wasian girl does an album she marketed by associating with lame has been bushwickian grifters. Charli is to dimes-y in the traditional sense of the word it’s way on the nose and below my taste level. Sorry it’s hard being ahead.

[arkus-rhapsode]

Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t. 

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s-90s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. DC's New 52 relaunch that seemed to bring back trends from 90s era comics.

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005. One of the biggest animated shows right now is Invincible, based on a comic book from 2003

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots. 

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter. 

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre. 

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters. 

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past. 

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture. 

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all. 

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more. 

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime. 

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated. 

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart. 

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. There is of course Hiro Mashima who has started another new series, Dead Rock, and his style has also not changed that much. Then there is just flat out sequels to 2000s series like Gamaran Shura.

This to me shows that we are  seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change. 

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi. 

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written. 

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success. 

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

[girlactionfigure]

LEICA AND THE JEWS

The Leica is the pioneer 35mm camera. It is a German product - precise, minimalist, and utterly efficient.

Behind its worldwide acceptance as a creative tool was a family-owned, socially oriented firm that, during the Nazi era, acted with uncommon grace, generosity and modesty. E. Leitz Inc., designer and manufacturer of Germany's most famous photographic product, saved its Jews.

And Ernst Leitz II, the steely-eyed Protestant patriarch who headed the closely held firm as the Holocaust loomed across Europe , acted in such a way as to earn the title, "the photography industry's Schindler."

As soon as Adolf Hitler was named chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany's Nuremberg laws, which restricted the movement of Jews and limited their professional activities.

To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as "the Leica Freedom Train," a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas.

Employees, retailers, family members, even friends of family members were "assigned" to Leitz sales offices in France, Britain, Hong Kong and the United States, Leitz's activities intensified after the Kristallnacht of November 1938, during which synagogues and Jewish shops were burned across Germany.

Before long, German "employees" were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of Leitz Inc., where executives quickly found them jobs in the photographic industry.

Each new arrival had around his or her neck the symbol of freedom - a new Leica camera.

The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers and writers for the photographic press.

Keeping the story quiet The "Leica Freedom Train" was at its height in 1938 and early 1939, delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders.

By that time, hundreds of endangered Jews had escaped to America, thanks to the Leitzes' efforts. How did Ernst Leitz II and his staff get away with it?

Leitz, Inc. was an internationally recognized brand that reflected

credit on the newly resurgent Reich. The company produced cameras, range-finders and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz's single biggest market for optical goods was the United States.

Even so, members of the Leitz family and firm suffered for their good works. A top executive, Alfred Turk, was jailed for working to help Jews and freed only after the payment of a large bribe.

Leitz's daughter, Elsie Kuhn-Leitz, was imprisoned by the Gestapo after she was caught at the border, helping Jewish women cross into Switzerland . She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave laborers, all of them women, who had been assigned to work in the plant during the 1940s.

(After the war, Kuhn-Leitz received numerous honors for her humanitarian efforts, among them the Officier d'honneur des Palms Academic from France in 1965 and the Aristide Briand Medal from the European Academy in the 1970s.)

Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the Leitz family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the "Leica Freedom Train" finally come to light.

It is now the subject of a book, "The Greatest Invention of the Leitz Family: The Leica Freedom Train," by Frank Dabba Smith, a California-born Rabbi currently living in England.

Thank you for reading the above, and if you feel inclined as I did to pass it along to others, please do so. It only takes a few minutes.

Memories of the righteous should live on.

Rabbi Yisroel Bernath

[crimethinc]

2023 in Chile: 50 Years of the Military Coup

Neoliberal Consolidation after the Revolt of 2019

http://crimethinc.com/Chile2023

In 2019, an uprising broke out in Chile, wresting control of the streets from police and politicians. Eventually, the authorities managed to redirect this momentum into an effort to replace the constitution, a relic of the dictatorship of Augusto Pinochet. The attempt to ratify a new constitution failed, however, illustrating the risks of channeling grassroots movements into institutional reform.

As a result, a resurgent right wing has regained the initiative in Chile, while the left politicians who came to power have subordinated themselves to the market and the police. To this day, Chile is governed according to the constitution that was introduced as a consequence of the military coup. In the following account, members of the Anarchist Assembly of Biobío trace this story through the end of the year 2023, chronicling the consequences of the cooptation of the uprising of 2019.

[absolutebl]

Do you think BL industry will "collapse" this year with how many they are putting out?

Nope.

I do think we are maxing out this year tho. In other words, I don't think there will be much growth this year in round numbers of shows produced over last year. Which means we are at the plateau.

(I said it for JBL specifically, but I think we aren't actually getting more BLs this year over all, so much as we are getting more runtimes of the BLs we are getting - so it FEELS like a lot more because there is a lot more airing at any one time.)

But historically with ET trends we will get to stick here for a few years until the market gets saturated and/or the audience ages out.

Korea has pulled back on BL production, but Japan and Thailand are holding pretty steady on last year's numbers (feels like), Taiwan has ramped up a little bit, and a few others are dipping their toes in.

I don't foresee a collapse.

Generally, barring single point cancellation of celebrity (not in play here), ET trends go out with a whimper not a bang. Then it'll resurge again in 10-15 years (sometimes in a new form/place like yaoi did). (See vampires and pnr for example. Or how Kpop is revamping the music and fashion of the early 2000s right now.)

So what I expect is steady numbers for the next 2-5 years, perhaps a slight decline. The cliff, if it's coming, isn't coming anytime soon.

We in the heyday, enjoy it!

[mazzystar24]

Asking this under anon bc i don’t wanna get any backlash in my inbox lmao

but to start this off: i love oliver stark, and i am so appreciative of how important he views this storyline and the representation it provides

however

i am going to be very disappointed in him if we get through the next few episodes, and it becomes clear that they aren’t going to further develop buddie anymore. he has always been so careful and cautious when it comes to implying things in interviews/press stuff, but lately with this resurgence in his response to fandom interest with buddie (liking fanart, reposting it, talking openly about buddie in interviews, confirming things like buck thinking eddie was attractive, etc.) if they don’t go that route, it will honestly severely hurt me.

i have very mixed feelings about what is and isn’t “queerbaiting” (most of my friends would say i tend to not believe that it’s a thing, and to an extent i agree) but there are certain situations in which something does blatantly feel like baiting… to me this is one of those situations.

with both lou and edy still being around, as well as ryan’s sudden stint in pr jail, the fandom’s obsession w lou/tommy, and tim minear’s seeming interest in complying with fan-service… it’s hard to remain optimistic that they will actually give us buddie. the past two weeks have given me whiplash as a buddie fan and i am getting tired of the show using our desperation and love for this ship as a marketing tactic when they have no intention of going there (tim minear himself saying things like “i don’t like to plan endgame relationships” or “there are no plans for buddie at the moment”).

that is why the media’s sudden obsession with asking about buddie, as well as oliver’s willingness to interact with buddie content online combined with the constant flow from the set of things not going in the direction of buddie… it feels very intentional to drag us in. and if oliver is participating in that, then i am going to be very disappointed and hurt by that. he used to care so much about not getting our hopes up, but lately it feels like that isn’t the case anymore, and that getting our hopes up is their way if getting us to continue watching the show because they know that people will stop watching after having to watch years of buildup and (at times admittedly) roment subtext between them just for all of that to be completely retconned and them to say “no-homo, bro” in favor of a character/ship that came out of nowhere and has had no development.

obviously, i don’t blame os for the storyline- he’s not a writer, he doesn’t get to dictate what does or doesn’t happen. But he is the one getting all of the media attention, and using that to shine a spotlight on buddie when (if) he knows that buddie isn’t happening? it feels very icky to me and i really don’t want to have a reason to dislike him.

unfortunately it’s seeming more and more like a possibility each day as we get inundated with bts info that doesn’t bode well for us at all.

I’m afraid I’ll have to disagree with you anon sorry😭🫶

If buddie doesn’t go canon/ they don’t show they’re heading in that direction in the next few episodes, I still would not blame Oliver at ALL for his recent more openness about buddie

(Idk how familiar you are with me and if you are you’ll know this but if you’re not lemme clarify I use bulletpoints a lot but not to be curt or rude I just like breaking things into chunks🫡)

1. He has made sure to constantly clarify that he doesn’t know how things are gonna go and he has no control over things- i mean EVERY time he spoke about buddie

2. He’s also a fan of the show guys, yes yes he’s an actor and it has different implications I agree 100% but also if he’s choosing to ship his character or enjoy fan work that’s his prerogative and sure he can lurk privately like he has in the past but also he probably knows that implications aside fans who make that work will be ecstatic to see him actually liking the stuff

3. The man legit said he deleted social media at one point cos he didn’t wanna like or share stuff that’d accidentally give people false hope for buddie or bi Buck but he has silently agreed for years and he hated not being able to confirm bi buck till now

4. He’s been a HUGE advocate for us both on the buddie front and bi buck front and that deserves recognition

5. As you said there is a LOT of bucktommy love rn which is great and all but may draw focus away from buddie, if Oliver is intentionally trying to get buddie fans to keep going it could genuinely just to show that buddie fans are still aiming for buddie endgame and that they still make up a huge portion of the fandom

6. Writing is CONSTANTLY in progress on 911 so again buddie fans being more vocal and abc and writers seeing such positive responses to him so much as interacting with buddie posts or answering buddie questions give them a gauge of audience’s wants (granted Tim has stated it’s not a HUGE factor for him) and also keep in mind s8 is still in the books so even proposals of storylines may be in the talks rn

7. When he talks he is VERY careful about his words and is very well spoken on the topic like yes there have been more stuff we can read into and be optimistic about but you can tell that he in no way is saying specific things to bait people, when talking about existing buddie things he talks about HIS interpretation and uses lots of maybes and might’ve beens and I see how that could be and when he talks about future buddie he talks about being open to it talks about what he’d want from it and he talks about not having control or knowledge of it happening

So yeah he has done/said things that I absolutely think warrant optimism (I made a whole post about it) but if it doesn’t pan out that optimism should a- still be there b- not turn into blame for him

Okay now Oliver aside- the questions being asked about buddie and all the buddie promotions I would be side eyeing the higher ups for if it’s for nothing because yes all the articles and stuff are stuff being pre-approved by abc and the people higher up than cast members or the journalists but I would also keep in mind that s8 is still in the works so hope is not lost even if s7 isn’t what we hoped for because keep in mind we had only 10 eps to work with too