Later I met with people who had been directly and indirectly involved in character merchandising in Japan, including one who would be responsible for the planning and production of the television animated adaptation of _Dr. Slump_. It turned out that in Japan, the television animated comic book adaptation also has served as a procedure for turning the "work" of the original comics into something different to produce "products" by entering into the commission of commercial deals regarding the work from the original author in the form of a television adaptation. Although Japanese comics publishers are happy to see a large number of popular comics being published, resulting in increased sales of magazines and paperback editions of comics, they are not very interested in developing business beyond this, as it goes beyond publishing. However, if an animated television adaptation is implemented, then the animation company or some advertising agency, in partnership with the publisher, has the original author agree to commision them various commercial tasks related to the work throught the publisher. The company then would receive a share of royalty income from merchandising in exchange for acting as the licensing agent for the work. This is the opposite of the American comics and animation industry, which considers characters above all to be the most fundamental patents of a sort, but it's another very sensible approach. Comics for children and teenagers in Japan are very sensitive to current trends. As a result, there are a large number of works. This allows for flexible commercial development while respecting the original creator. It fits in well with the Japanese mentality, which considers head-on conflicts and heated arguments about rights and interests immodest. This approach has resulted in a closer relationship between comics and animation in Japan for dozens of years, both commercially and artistically, than in the United States.

[Continued to https://hinative.com/questions/21453012?locale=ja] cái này nghe có tự nhiên không?

I can understand it. But I just made a few adjustments:

Later, I met with the people who had been both directly and indirectly involved in character merchandising in Japan, including the one who would be responsible for the planning and production of the animated television adaptation of “Dr. Slump.” It turned out that in Japan, the animated television adaptation of a comic book also has served as a way for turning the "work" of the original comics into something different in order to make "products." They do this by entering into a commission of commercial deals regarding the work from the original author in the form of a television adaptation. Although Japanese comics publishers are happy to see a large number of popular comics being published, resulting in increased sales of magazines and paperback editions of the said comics, they are not very interested in developing business beyond this, as it goes beyond publishing. However, if an animated television adaptation is implemented, then the animation company or some advertising agency, in partnership with the publisher, has to have the original author agree to commision them various commercial tasks— related to the work through the publisher, of course. The company would then receive a share of royalty income from merchandising in exchange for acting as the licensing agent for the work. This is the opposite of the American comics and animation industries, which consider characters above all to be the most fundamental patents of a sort, like trademarks and copyrights, but it's another very sensible approach. Comics for children and teenagers in Japan are very sensitive to current trends. As a result, there are a large number of works catering to this demographics. This allows for flexible commercial development while respecting the original creator. It fits in well with the Japanese mentality, which considers head-on conflicts and heated arguments about rights and interests immodest. Because of this approach, a closer and lasting relationship between the comics industry and the animation industry has been established in Japan, both commercially and artistically— more so than in the US.