Mere days ago, we talked about how globalist payment overlords in the form of VISA and Mastercard tried yet again to strong-arm Japanese retailers into censoring content that doesn’t align with their so-called “safe” standards. But in a rare show of backbone, Melonbooks basically told these credit card companies to go fuck themselves.
However, just as Japan scores one for the freedom of expression, they’ve taken a massive loss with the downfall of Ken Akamatsu’s Manga Library Z.
Originally launched as J-Comi in 2011 by Ken Akamatsu, who later shifted gears into a political career in Japan, Manga Library Z is a digital platform aimed at preserving out-of-print manga.
Before diving into politics, Akamatsu gained widespread recognition as the creator of the beloved romcom series Love Hina. This iconic manga ran for a total of 14 volumes, serialized in Weekly Shōnen Magazine from October 21, 1998, to October 31, 2001. Its popularity led to an anime adaptation that aired for 24 episodes between April 19, 2000, and September 27, 2000, along with two additional OVA specials.
Love Hina is particularly famous for its use of fanservice, a hallmark of the series that includes playful, suggestive content aimed at entertaining its audience.
In typical romcom fashion, the fanservice in Love Hina often takes the form of lighthearted and humorous scenes, where female characters find themselves in revealing situations or awkward, compromising positions, all adding to the comedic charm of the series.
A crucial cornerstone of Japanese creativity that must be fiercely protected from the suffocating grip of Western puritanism.
Ken Akamatsu’s Manga Library Z platform focused on legally archiving and distributing out-of-print and doujinshi manga, ensuring that the original creators receive compensation for their works via ad revenue.
As is typical with Japanese manga, the archives on Manga Library Z included works with explicit content that didn’t align with the guidelines enforced by these global payment processors. This led credit card companies to cut off their services, crippling the platform’s ability to function financially.
Ken Akamatsu, however, refused to censor or remove any titles, standing firm in his commitment to preserving the original content in its entirety, and as a result of his defiance Manga Library Z was no longer financially viable to continue operation.
Despite attempts to negotiate, they couldn’t reach an agreement. The site’s closure was triggered when its payment agency abruptly terminated all services, even non-credit card options.
According to creator Ken Akamatsu, all major credit cards, including JCB, became unusable, while other payment methods, except for BitCash were also pulled. To make matters worse, even previously settled funds were frozen, leaving them unable to cover server expenses.
The management team concluded that relying exclusively on BitCash was financially unsustainable, and they were also wary that switching to another payment processor could lead to the same issues. Instead of compromising by removing content to appease payment providers, they ultimately decided to shut down the platform altogether.
Akamatsu expressed regret over the sudden nature of the shutdown, acknowledging that they were left with no choice but to comply due to the short notice. However, he revealed that they have since gathered important insider information regarding the reasons behind the service suspensions, potential penalties, and the actions taken to prevent such issues in the future. This information will be crucial for a comprehensive investigation into what led to the platform’s closure.
Although Manga Library Z is shutting down, the team is exploring options to relaunch the service in some form, with possibilities including crowdfunding. However, this situation highlights a broader issue: the actions of monopolistic global entities pushing for uniformity across cultures.
While holders of VISA or Mastercard can still freely purchase materials that exploit real people, whether it be OnlyFans or other explicit content, these same companies are pressuring Japan over fictional characters and drawings.
This is a clear example of cultural colonization, where Japanese retailers and the artists of whom depend upon them to make a living are being forced by foreign entities into aligning with Western standards, disregarding creative freedom and cultural differences. In the process, several mangakas, whose works continued to generate revenue, now face a loss of income because these global giants disapprove of the content.
