Is the success of Japanese anime in countries such as the US indicative of the emergence of a global youth culture?
The success of Japanese anime around the world had led to the spawning of a subculture among the youth called “otaku.”
Japanese anime in the United States has now become an $80-million industry. The success of this industry is attributed to its ability to cover a number of genres ranging from fairy tales and science fiction, to the daily lives of teenagers and more adult themes. The relationship between the characters in a Japanese anime storyline becomes more complex and as such, the characters are able to deal with multi-dimensional problems and situations and are able to express intense emotions. They also experience situations such as isolation from school, instances of bullying and domestic problems. Moreover, the characters are able to make mistakes, and the good guys do not always win. The ruthless characters are bad for reasons understandable (Ministry of Foreign Affairs [MOFA], 2007; Stack, 1999; Wagner, 2004).
The culture of the youth today is greatly influenced by media such as film, music, television, the Internet and other forms of information and communication technology and has an influence on how young people today socialize. It also entails a diverse range of interrelated practices such as language, religion, sexuality and the like (Heaven & Turbidy, 2003; Kahn & Keller, 2006; United Nations [UN], 2004). When Japanese anime films, graphic novels and cartoon series have begun to proliferate in the United States during the 1990s, American youth have been fascinated with it and eventually considered it “cool” (Heaven & Turbidy, 2003; Kahn & Keller, 2006; MOFA, 2007; UN, 2004). Eventually, this fascination has turned into an obsession and caused the development of the subculture among the youth which has been termed as otaku (Eng, 2002).
Originally, the term “otaku” has been given a negative connotation among Japanese. Otaku was synonymous to the term “nerd” and was often associated with their confined in their own world and unable to communicate with the opposite sex due to their obsession with Japanese anime (Eng, 2002; Lim, 2008). This trend is not only present in Japan, but in other countries such as the United States and Europe. This is seen in the growing instances of anti-social behavior being exemplified by teenagers such as violent outbursts, rebelling against parents, or would resort in dressing outrageously in order to make a statement. When Japanese anime grew in popularity, they found in it a means of escape, allowing them to express themselves within the materials since these materials depict characters that experience situations that they had and experienced emotions that they experience (Zielenziger, 2006).
Today the term “otaku” refers to an individual is more concerned about the accumulation of data and able to engage in hyper-social activities centered on the passion of Japanese anime. Otaku are not just very meticulous consumers on the materials that they purchase. They do not only rely on authorized sources for product and information. They establish their own networks to serve this purpose, empowering them (Fan Shen, 2007).
What social and technological forces are making it possible for Japanese anime to transcend national borders?
Today’s younger generation has a need to invest in an identity that would set them apart from the older generation (Heaven & Turbidy, 2003; UN, 2003). This need also contributed to the proliferation of the otaku subculture in the United States since they see it as being able to provide this need. The manifestation of this subculture is seen in all aspects of the lives of the youth today. High school and college students would often talk about their favorite Japanese anime character or series. Clubs have now been established where students would be able to passionately discuss and debate about Japanese anime. One example of such club is the Cal-Animage club at the University of California in Berkeley which is composed of 400 or so members. Moreover, conventions are now being organized to promote “Cosplay,” which involves the participants of the convention to dress up as their favorite Japanese anime character (“Importing Success,” 2000; JETRO, 2007; “The United States of Japan,” 2007; Stack, 1999; Wagner, 2004; Xiaoming & Leng Leng, 2004).
The increase of Japanese in the United States has also contributed to the propagation of Japanese anime in the country. Japanese community TV stations in the country began broadcasting Japanese anime cartoon series which have not yet been shown on national television. Enthusiasts would make copies of these cartoon series were then recorded through VCR’s and were then disseminated to their friends (Leonard, 2003).
Another contributor to the growth of the popularity of Japanese anime in the United States is the number of clubs set up by enthusiasts. Members of these clubs would correspond with each other as well as members from other clubs in the United States and Japan. Through these correspondences, the members would trade copies of different Japanese anime materials with each other. Some of these immigrants have also established businesses distributing various Japanese anime materials to its followers in the United States as well (Leonard, 2003; Palmeri, 2004).
In addition, the Japanese government has recognized Japanese anime as part of their national culture. Because of this, Japanese anime is now included in exhibits showcasing Japanese culture as a form of cultural art (“Japaninfo,” 2007; “Little Boy,” 2005).
The industrialization of the anime industry under the influence of the US also allowed anime to transcend borders. The lucrative nature of the Japanese anime industry has caused animators in Europe, Asia and the US to incorporate Japanese animation into their work. In the past, majority of the cartoon series and films that were purchased by Japanese enthusiasts were in Japanese or would include subtitles for non-Japanese speaking fans would follow the dialogue in the story. As a result, companies such as Central Park media and A. D. Vision began dubbing these cartoon series and films into English. This further increased the following of Japanese anime in non-Japanese speaking communities. A number of business organizations have also started incorporating Japanese anime in their businesses. Television networks such as the Cartoon Network has a program called “Toonami” which features Japanese anime cartoons, with Gundam Wing as the newest anime in its line up. Fast food chains such as McDonald’s gave away Japanese anime characters such as Hello Kitty along with their value meals (“Importing Success,” 2000; JETRO, 2007; MOFA, 2007; “The United States of Japan,” 2007; Stack, 1999; Tush, 1996; Wagner, 2004; Xiaoming & Leng Leng, 2004).
Advances in information and digital communication technology have also played a part in Japanese anime transcending international borders. E-commerce has now allowed Internet websites like AnimeNation (http://www.animenation.com/) and RentAnime (http://www.rentanime.com/) for Japanese anime enthusiasts to purchase and rent DVD copies of their favorite Japanese anime online. These websites also offer a wide variety of other Japanese anime products such as graphic novels and figurines as well as online communities for otaku to interact with each other. Online broadcasting communities such as Youtube.com (http://www.youtube.com) offer otaku with a venue where they can upload segments of various Japanese anime cartoon series and films to be freely viewed, giving newly released anime series and films in Japan publicity in the United States (MOFA, 2007; Palmeri, 2004; Tush, 1996).
How does the development of the new series of Astro Boy cartoons differ from the Japanese anime has traditionally been developed? Why is this change being made?
When Astro Boy was released in the 1980s, the storyline resembles the story of Pinnochio centering on his quest to adapt to the human world. He is adopted by a family and immersed himself in activities common to humans such as going to school and falling in love. His encounters with the antagonists appeared to be played down thus giving more emphasis to his adjustment to the human world. Astro Boy during the cartoon series was a very curious about the human world and is eager to learn more about it. He was more than willing to discover new things without any fear, and although he may get into trouble every now and then, he not only manages to make new friends but also learn a lesson or two along the way (Huddleston, 2004; Nettles, 2002).
A number of developments were made to the series when it was released in 2003. The characters in the new series did not use comical Americanized names. Instead, the names used in the original Japanese anime created by Osamu Tezuka were used save for Astro Boy, who remained to be called Astro instead of Atom. The cartoon series released in 2003 (Ramer, 2005).
The greatest development that was made on the new series was the story line. The story had shifted into addressing on the social issue as to whether two different races may be able to co-exist with each other without any friction. Here, Astro Boy’s character has shifted from being a young robot who was trying to assimilate into the world of humans into serving as the liaison between the biologics (humankind) and the robotics (robot rebellion) and prevent the destruction of mankind. As a result, the episodes have become darker and the stories have become more complex as compared to the story of the cartoon series in the 1980s (Ramer, 2005).
The changes mentioned were initiated in order for the new series to reflect the original concept of the Japanese anime created by Tezuka when the cartoon series was released in the 1960’s in Japan which addressed various serious social and ethical issues through the form of a cartoon series with a robot as the main character. Back then, producers have considered the cartoon series too violent and centered on themes that they believed were to complex to be understood by children (Bertschy, 2003; Ramer, 2005).
Osamu Tezuka, the creator of Astro Boy, has been known to be a moralist. His reason for creating Astro Boy was to address the social issue of the co-existence of different races. He believed that different races are capable of co-existing with each other peacefully. He embodied this ideal through Astro Boy where he was a pacifist and would refuse to fight unless necessary. Despite the increase in the level of violence now shown in the new series of Astro Boy, the main character’s view of trying to resolve the issues in other means than reciprocating violence offers its audience a unique and refreshing break from the number of violence-obsessed shows in television today (Bertschy, 2003).
Do you think that Astro Boy will be successful? Yes. Why?
Warner Bros and Weinstein Company had recently announced a CGI movie version of the cartoon series Astro Boy created by Imagi will be released in cinemas all over the United States in 2009 after the success of Teenage Mutant Ninja Turtles and Transformers in the silver screen (Reidemann, 2007; Sacks, 2007).
Also, the recent success of Transformers in the silver screen gave cause for many to remain positive on how the Astro Boy movie would fare in the cinemas in the US. The Transformers cartoon series was one of the many Japanese anime cartoon series that were dubbed in English and were aired on television in the 1980s. The cartoon series Transformers focused on the same social issue portrayed in Astro Boy, that is, the co-existence of two different races. The cartoon series depicted the two views of co-existence with one group (Decepticons) viewing that co-existence between two races is not possible and the other group (Autobots) showing otherwise (Albert, 2008).
Another possible contributor would be the increase in the popularity of CGI films in the industry. Although CGI has been used for special effects as early as the 1970s, it was only in the late 1990s that films have been incorporating CGI to create the characters of films shown today. Today, CGI films have become huge hits in the movie industries. Among these films include Independence Day and Godzilla. Pure animated films created using CGI have also become blockbusters as well. Shrek 2 is now considered the third highest grossing film in the United States with revenues amounting to $438.5 million. CGI films have now become a resounding success in the film industry because of its capability to allow fictitious characters come to life and look very realistic. This was the case in Final Fantasy, another Japanese anime that had recently graced the box offices. The animation allowed the characters to come into life such that they almost looked like they were real and as such, is able to attract both the young and the old alike (Bowles, 2004; Dingo, 2001; Sacks, 2007).
However, there are a number of films that have been based on computer games and Japanese anime that did not fare as favorably as others. Examples of these were Lara Croft Tomb Raider: Cradle of Life which was based on the computer game released by Eidos Interactive (http://www.eidos.com/) and Final Fantasy: the Spirits Within, based on the computer game distributed by Nintendo (http://www.ffonline.com). Movie critics have noted that the reason of the failure of these two films as that the storylines of these two films have reverted away from the original concept and script of the computer games, resulting in the creation of a script that lacked substance (Dingo, 2001; Leong, 2001).
In order to avoid Astro Boy from experiencing the same fate as these two films, Imagi had reassured that they would be basing the storyline of the movie closely to the original storyline (Reidemann, 2007).
In line with this, the audience will be assured that the script that will be used in the movie will not be shallow. This is due to depth of the original concept of the cartoon series Osamu Tezuka had when it was released back in the 1960s. Tenzuka created Astro Boy overflowing with subtext and meaning. The storyline will introduce a new kind of hero that, for a long time has not been seen in movies. Instead of addressing violence and conflicts with violence, Astro Boy is shown as an individual who would attempt to gain an understanding of the inner conflicts experienced by his foe in order to resolve the conflict without the need for much violence (Bertschy, 2003).
More importantly, it has been noted that one of the reason for the popularity of Japanese of anime is its ability to attract followers of various ages and backgrounds. One of the reasons why it is able to do so is that the themes of various Japanese anime films and cartoon series are able to address various issues that many societies would rather not ponder upon. These issues are presented to the viewer in a very honest and humanistic manner. Such is the case in Astro Boy. Here, the story discusses the issue of discrimination between races. In the United States, discrimination due to race, national origin, color, gender and the like are experienced in different societal systems (Denver Anti-Discrimination Office, 2008). Although discrimination in the movie will be depicted between man and robot, the issue is something that anyone could relate and pondered upon, adding more substance to the film.
All in all, this combination of the use of CGI, storyline and the growing number of Japanese anime fans or otaku in the United States will pave the way for the success of Astro Boy the movie when it is released in the box offices in 2009.
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