i actually like the one piece analogy, becuase yeah they are a bunch a weirdo’s doing their own thing, but they all have a huge drive pushing them forwards and they come together all the time to collectively move forwards with their eyes always on the distant horizon
icreievryteim
I can hear mikochi screaming “OUR DREAMS WILL NEVER END”
unimportanthero
Honestly, though, any Japanese talent agency that follows the Jimusho (i.e., Japanese Talent Agency) model is still embracing a shit business model that incentivizes monopolizing and controlling the careers of the talents it hires. Hololive might be the best of these three but they all – ultimately – embrace a model that depends on stifling outside opportunities for the entertainers they employ in order to monopolize those same entertainers.
In fact, the negative elements that incentivize specific types of career abuse and power harassment in models like the Jimusho are so well known that they were (over years) made illegal in the United States, which is ultimately what brought about the downfall of the Studio System that the Jimusho model emulates.
I understand when entertainers primarily working *in* Japan sign on with the jimusho. You sometimes need to in order to actually get access to performance venues, other entertainers, and the opportunities that *might* make your art a sustainable job inside the nation. But it baffles me when I see people who work in other countries sign on with Jimusho agencies, when there are far better models available to them domestically.
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To me hololive have stricter rules, but they are enforced evenly. Nobody can surpass that.
I think Squid Game should represent NIJISANJI because it was full of betrayal from each contestant.
Well i dont know about battle royale series/movie though
Okay but if you are shitting on Niji this doesn’t work cause Battle Royal is awesome
Actual [Wactor](https://i.imgur.com/F3f0GAs.png)
i actually like the one piece analogy, becuase yeah they are a bunch a weirdo’s doing their own thing, but they all have a huge drive pushing them forwards and they come together all the time to collectively move forwards with their eyes always on the distant horizon
I can hear mikochi screaming “OUR DREAMS WILL NEVER END”
Honestly, though, any Japanese talent agency that follows the Jimusho (i.e., Japanese Talent Agency) model is still embracing a shit business model that incentivizes monopolizing and controlling the careers of the talents it hires. Hololive might be the best of these three but they all – ultimately – embrace a model that depends on stifling outside opportunities for the entertainers they employ in order to monopolize those same entertainers.
In fact, the negative elements that incentivize specific types of career abuse and power harassment in models like the Jimusho are so well known that they were (over years) made illegal in the United States, which is ultimately what brought about the downfall of the Studio System that the Jimusho model emulates.
I understand when entertainers primarily working *in* Japan sign on with the jimusho. You sometimes need to in order to actually get access to performance venues, other entertainers, and the opportunities that *might* make your art a sustainable job inside the nation. But it baffles me when I see people who work in other countries sign on with Jimusho agencies, when there are far better models available to them domestically.