During the pandemic, the manga industry experienced a much stronger rise than usual.

The containment has resulted in exponential growth in sales.

In Japan, manga sales would have reached a record 612.6 billion yen (4.67 billion euros) in 2020, according to Jiji Press.

A success boosted by the release of successful works such as

Demon Slayer: Kimetsu no Yaiba

.

But success sometimes attracts vice.

Indeed, like sales, manga diversions have never been so numerous.

Many readers have turned to hacking techniques to illegally acquire the latest books.

Since then, piracy has exploded.

International cooperation

Already in 2019, the creator and owner of the Manga-Mura site was sued around the world.

Once the fugitive was arrested and tried, a new site took the place of Manga-Mura in 2019, Manga Bank.

The damage caused by the latter is estimated at more than 200 billion yen (1.53 billion euros), with nearly one billion visitors.

After this success, Manga Bank, too, was closed by the authorities.

Websites delivering pirated content like Manga Bank mostly use offshore servers.

Local authorities therefore need the cooperation and resources of their international counterparts to fight against such piracy.

Thus, an organization in charge of combating and raising awareness against piracy was created.

The Authorized Books of Japan (ABJ) brings together publishers and distribution platforms from ten different countries, including Japan, the United States and China.

The new organization will be launched in April and managed by the Content Overseas Distribution Association (CODA).

No more sales, no more hacking, no more losses for the industry

In the first months of 2020, the traffic of the top three manga hacking sites was estimated to be 12.5 million unique visitors.

In October, there were 326 million.

Thus, the financial damage which was 1.6 billion euros for the year 2020 more than tripled.

They are estimated at 5.9 billion euros for the period from January to October 2021.

This damage is particularly fatal for the new, little-known designers.

Indeed, the latter are more dependent on online publication and therefore more exposed to the risks of piracy.

As their works have not yet been published in magazines, the Internet remains their only distribution channel.

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