ORESUKI: Are you the only one who loves me?: Our Playball / Our End Run / Our Game
俺を好きなのはお前だけかよ～俺たちのゲームセット～
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Hose is the ultimate romantic comedy protagonist, who is more talented and better than me at everything. Hose and I are going to battle over Pansy at the fateful regional tournament finals. While Nishikizuta and Toshobu high schools go head-to-head in a baseball match, I’m going to battle Hose in a popularity contest. Yes, I’m going to fight fair and square…Psych! Of course not! The odds are overwhelmingly against me, so I’m going to play dirty! Mwahahaha! I know that Hose is going to follow the rules to the tee, so I’m going to do the exact opposite…Huh? What did you say? There are some new rules? Wait a sec! Why are all the rules in favor of the other guy? Himawari, Cosmos, Asunaro! Why did you betray me? Crap…I have no one on my side…The rules are all twisted…So, I have no shame in using all my dirty tricks so everyone can see! (Source: Crunchyroll)
More seasons
ORESUKI: Are you the only one who loves me?Prequel · TV · 2019ORESUKI: Are you the only one who loves me?: Our Playball / Our End Run / Our GameCurrent · OVA · 2020Episodes
14
How watching this pays the artists
Every time you watch ORESUKI: Are you the only one who loves me?: Our Playball / Our End Run / Our Game on a legitimate streaming service, a portion of that revenue flows back to CONNECT, the voice actors, the composer, and the animators who made it. Subscribing or watching on an ad-supported tier is how the work continues.
Where the money actually goes
Streaming services pay licensing fees to the production committee that financed the show. That committee distributes revenue to the studio, the publisher of the source material, the music label, and the broadcasters who originally aired it. The animators themselves are typically employed or contracted by the studio; their pay comes from the studio’s share of these licensing dollars.
Piracy doesn’t reduce streaming-service revenue evenly — it removes the underlying viewership that justifies future licensing investment. Less licensing investment means smaller studio budgets, lower pay for animators, and fewer shows greenlit.
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