Archive for the ‘editorial’ Category
I will no longer be posting to “I am Otaku” but please, no tears, because the reason is quite spectacular.
My wife and I are welcoming a baby into our home and as such, if I can find any otaku time, even though I’ll be spending it building model kits and watching anime, I just won’t be able to blog about it.
I may return one day – when he’s 18? – but for now, I hope the stuff I’ve blogged about for the past couple of years will be useful to someone.
Thank you to everyone who’s posted and commented and inspired me to continue. We have a wonderful community and I’m gonna miss y’all. Just keep your eyes open at the next anime convention for two dudes cosplaying as Lone Wolf and Cub.
A few years ago, while working on a story for CBC Radio, I had the great honour of interviewing Shinichiro Watanabe about his hip hop-anime Samurai Champloo. Until recently, this interview was archived elsewhere, but it disappeared, so I’ve uploaded it myself.
Keep in mind that the interview may sound a bit odd: I had not intended to use my own voice on the air, so I’m asking the questions to the translator who then answers them in first person.
Still, you’ll get some great insights into Champloo.
Fansubs are not killing the anime industry.
But over the past few months, almost every discussion about the current crisis in anime always seems to center back on this cliché. I am amazed by it, much like I am amazed that some people still believe file sharing is the cause for the fall of the movie and music industries. The situation if far, far more complex and one culprit is not to blame. What’s unique about the anime industry, however, is that file sharing has been both its celebrated champion and demonized enemy.
A quick bit of history on fansubs. Back in the day it was almost impossible to get anime in North America. So, dedicated fans worked many, many hours to tape shows off Japanese television, translate and subtitle them, then make copies for their friends in the rest of the world. It was on the backs of these fans that the foreign anime industry was born. Popularity amongst fansubbers was and continues to be to a lesser extent a marker to distributors which titles to pick up. As we all know, in the past decade the industry exploded and tonnes of anime distributors fought for foreign rights to shows. But as this process often delayed the release of shows or was sometimes never completed, the fansubbers kept up their work. With the help of digital video and the web, we now have fansubs that are near-DVD quality and available shortly after broadcast to anyone with a highspeed connection. The theory goes that because of the quality and speed of availability, the enormous anime fanbase is no longer buying DVDs and so the industry is collapsing.
Let’s get some stuff clear. Fansubbing is 100% illegal. It contravenes national and international copyright laws. And unlike doujinshi, it is not creating a new product based on copyrited material – which is tolerated in Japan – it is simply re-distributing that material. I freely admit to watching fansubs, however, and I don’t feel ashamed. I do feel, though, that the situation is not perfect. There are solutions, I think, and I’ll get to those later. First, my defense for fansubs.
Would you buy a DVD of a TV show you’d never seen? You might rent it but no way you’re going to shell out even $30 for something you’ve maybe only read a few reviews of. But if you get to watch it on TV first – well, just look at the enormous success of TV shows on DVD. Things is, fansubs are not like watching shows on TV – no money is being generated on advertising or licensing fees. But an audience is being created and I strongly feel that most anime DVD purchases made outside Japan are based on previous fansub watching. That’s definitely true for me – yes, I watch fansubs and then buy the DVD!
Fansubs are also often better than the DVD release of a show. They almost always include explanations of cultural references as opposed to English dubs which often re-write these references for a North American audience. This really gets my goat because guess what? I’m watching anime because it’s Japanese.
Here’s the number one reason I believe the anime industry outside of Japan is currently in an upheaval – and it has nothing to do with fansubs. All the distributors seem to think that they can release DVD after DVD and the audience will just shell out money hand over fist. In a recent interview I did with Kevin Carney, Director of Marketing at Manga Entertainment, he told me that many US distributors have simply overextended themselves, releasing too many titles.
And the fan base just isn’t that big. As Kevin told me, “If you look at the top anime sellers of the week, once you get below number 7, it’s less than 1000 units a week [according to VideoScan].” And I would add to that that most anime just isn’t that good. Simply because companies get a license, should that mean they succeed?
But their biggest downfall is probably their insistence on the very costly process of dubbing. Creating an English dub of a show is almost like creating the show again from the ground up. Many will argue this is essential, especially for TV broadcast and appeal to a wider audience. Yes, but must every title be dubbed? Especially when, as Kevin rightly points out, “most hardcore fans only watch it [anime] subtitled. Unless it’s going to be a mass title, do you really need to do the voiceover?” Don’t forget that the audience we’re talking about here is quite young and – as the music industry has discovered – don’t have as much money to spend as you may want them to. “If you’re not selling more than 500 copies a week, it should be digital” and not dubbed, Kevin maintains.
So what can be done with a small fanbase that’s used to seeing its anime for free whenever they want it? Meet them halfway. Give it to them at a small cost. Get the fansubbers on your side and release subbed episodes online, shortly after broadcast, for a nominal fee. You could even sweeten the pot by offering a discount off a future DVD purchase based on buying the downloads.
This idea is neither crazy nor original as it’s already being attempted*. However, the current set up is still limited both in numbers of titles offered and sometimes by geography. Sadly, there are still too many people – like in the movie and music industries – worried about losing their own power and domination over the status quo to realize that the world has changed under their feet.
We now live in an international, real-time media world. Figure that out, learn to use it and anime companies will have a bright future.
*I’ve just bought my first, legal download of anime, Blassreiter, and will blog about that shortly…
Britney Spears. Whatever.
But she has a new video* out that is a cynical attempt to remain relevant and hip by going anime-style. It borrows far too heavily and obviously from the first Ghost in the Shell movie, casting Spears as some sort of avenging vigilante cyborg thing that does a lot of flying around and smashing. Trying to use anime to keep her sinking career afloat is sad, but choosing something 13 years old to look current, is embarrassing.
My biggest concern, though, is with how trendy anime is becoming. If the mainstream thinks it’s the hip new thing, it won’t be long until anime joins breakdancing as yet another compelling cultural expression lost on those who only associate it with crap like this.
*The secret words are “danger” and “victory”, by the way.
Ronald Kelts had me from the first page of his very good book about Japanese pop culture in the US by starting with the story of Battle of the Planets. It turns out that my experience with the show is far from unique. In fact, as I have long assumed, I am part of the first wave of North Americans to be “Japanized” through anime.
Kelts’ book is extremely readable, and for the Japanophile, it is a must. He also “gets it”, so there is no fear-mongering or hysteria about sexual fantasies run amok. Instead, he explains to readers those elements of Japanese culture (Kelts is Japanese-American) that give context to anime and manga storylines. But the focus of the book is really the challenges the anime industry faces in the 21st century.
This book is 2 years old, written just before Afro Samurai came out. Kelts cites that show as an example of what anime might become in the future – as cross-cultural co-productions. But he states his concern that those elements of Japanese culture that make anime unique may be lost. 2 years on and I can attest to the fact that yes, in the case of Afro, they were lost. He also touches on the future of anime distribution and speaks with one producer who – gloriously – suggests that anime companies should work with funsubbers if they are to survive in the internet age.
Kelts also addresses the main crisis facing the industry: the decline of interest from young Japanese, both in production and in consuming anime and manga. What he did not foresee was the current focus on moe anime that is one attempt to survive by appealing to the core audience. Only problem is that core is growing older and I believe more and more obsessed with fetish over innovation.
Japanamerica ends with a sense of hope, suggesting that some studios in Japan are starting to figure out that global success is key to domestic survival. But Kelts makes the case that decades of business culture need to change and adapt before that can happen. And as much as anime has helped North Americans understand Japan, Japan is only starting to understand why it is that we are so in love with their pop culture. And how to capitalize on that love.