Commentary

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A breaking news panel discussion from “Zettai Shonen”

Coming back from a long Thanksgiving-related trip last weekend meant I had a backlog of podcasts waiting for me including some episodes of programs oriented at the fan community. I decided to write up some reactions to each along with some constructive criticism.
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ADV Hits A Joker

Even though I was glad the core elements of AD Vision would still function in the form of separate corporate entities, I felt some sadness about the disappearance of the brand early last week. The clock had been ticking for a couple years and yet they’re still not completely shuttered, like Geneon or CPM ended up, partly due to acquiring & distributing new content through Sentai Filmworks & Switchblade Pictures and also having a back catalog that bolsters their Anime Network channel and VOD service.

Some of their fanservice-focused marketing was not so great – they had even trademarked “Jiggle Counter” (TM s/n 78249580) and used it on Burn Up Excess & Plastic Little – but they also put Pop Up Video style “AD Vid-Notes” (Vid-notes: TM s/n 78271566) on a few reference-heavy releases in Excel Saga & Pani Poni Dash and experimented with different methods of advertising: AniMinis (1 episode on 3-inch discs at $6.99 with a coupon inside) and using torrents to distribute promotional materials.

It’s not much of a loss at all since the core business elements remain and only the brand was abandoned but I’ll still miss it. (I’m not going to delve into their defunct manga business because I didn’t have that much experience with it and because it ended up being so mishandled.)

Here are some of the ADV-related posts I written over the past three years:
sampling the ADV Universe content and wrote about its Windows DRM
pointing out John Ledford’s ranking of titles in A, B, and C categories of sellability (and then something Ledford said 17 months later)
exploiting their once-open trailer directory to post a teaser trailer of Kanon, a day before ANN (while in Germany no less!)
posting a renewal letter from Newtype USA I received soon after the announcement that the magazine would turn into PiQ, which also folded later that year
– an expression of hopeful (and naive) concern for the company’s future after news of dropped listings and the lost Sojitz licenses
– a post wondering about the future of Keroro (Sgt. Frog). Funimation picked it up in its slew of license transfers two weeks later.
an episode of Reading Out Loud about the phantom February 2008 release date for Gurren Lagann
– reviews of Red Garden vol. 1 and Pumpkin Scissors vol. 1

P.S. This is one of the more memorable ads I saw from ADV (scanned from Anime Insider, October 2005):

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If you follow a number of anime/manga people on Twitter, you may have already read this piece by Lisa Katayama that will run in Sunday’s NY Times Magazine called “Love in 2-D”. If not, I think it’s worth at least taking a look at because it flows well (I have an admiration for good feature writing) and offers an interesting look at “a subset of otaku culture” in Japan and at the psychologies of those involved in it.

I agree with some of my colleagues that the presence of prepubescent characters as targets of affection was disconcerting, particularly if one tries to consider possible misconceptions this could spawn among those not familiar with the scene. One of the people in the piece, Momo, said he never looks at child porn and that he’s “not doing anything to harm anybody”, that the characters “are works of art”, “cute girls that live in [his] imagination”. He makes a clear distinction between fictional characters and reality, unlike the reasoning behind recent obscenity cases in America involving manga.

However, what concerned me more was the mention of a government survey where 50 percent of men and women said they do not have friends of the opposite sex. (The other part that was included was the finding that more than 25% of men and women ages 30-34 are virgins but I’m more interested by the one I chose to bring up.) To me, this points to a larger societal problem of nervousness and insulation. I don’t claim to understand casual Japanese relationships – I’m using “relationships” in a broader sense to mean people you keep in touch with on a regular basis – so I don’t know if people you know from work would be considered as friends. Are there fewer social activities available or something? According to one of Lisa’s tweets, the survey comes from the government agency that monitors population and social security so there’s a hint for those who want to look for it.

Also: for those interested about how the term moé was mentioned, Lisa describes it in a way that seems a bit too escapist for me but it serves its purpose for those unfamiliar with it:

In Japan the fetishistic love for two-dimensional characters is enough of a phenomenon to have earned its own slang word, moe, homonymous with the Japanese words for “burning” or “budding.” In an ideal moe relationship, a man frees himself from the expectations of an ordinary human relationship and expresses his passion for a chosen character, without fear of being judged or rejected.

I don’t feel like writing a lengthy post about the societal views of love and relationships and frankly I think other writers can elucidate on that subject much better than I can, but I did want to write something about the article to get it off my mind for a while.

UPDATE 7/27: Adamu of Mutantfrog Travelogue has written a well-constructed response to the NYT piece where he debunks the two key statistics cited by Katayama and explains why making Nisan, the balding 30-something man, the focus skewed the piece unfairly (he thinks it would have been more fair to begin with Ken Okayama).

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Drawn by TMO

This spring season features the highest amount of premiering anime being streamed legally with more than a half dozen premiering series currently “simulcast” on the Internet. Most of them are on Crunchyroll – Saki, Hayate no Gotoku!!, Natsu no Arashi, Shangri-la, Mainichi Kaa-san, and Ristorante Paradiso – while FUNimation is following up Shikabane Hime with Fullmetal Alchemist Brotherhood except this time, they are restricting the new episodes to their video portal.

The ball got rolling in spring 2008 when Gonzo GDH placed Tower of Druaga and Blassreiter onto YouTube, BOST, and Crunchyroll (CR); Strike Witches went onto those same three services that July. October saw CR play host to premiering series Linebarrels of Iron and FUNimation push Shikabane Hime onto YouTube, Hulu, Joost, and their newly launched video portal. Crunchyroll added Shugo Chara and Skip Beat in November; in January, they took on Gintama, Natsume Yujincho and Naruto Shippuden, the latter of which Viz also streamed through Naruto.com, Hulu, and Joost. Crunchyroll added Hitman Reborn in March.

One of the things that worries content providers about putting their video portals is whether the sites will actually generate revenue. It seems that Crunchyroll has gotten off to a good start by establishing an attractive platform for foreign content owners to get their properties global reach – a Yomiuri article about TAF 2009 relays the following figures for Crunchyroll: 4.5 million visitors who were often exposed to advertising, 1.5 millions of hours viewed monthly, and almost 15,000 paying memberships at $6.95 a month ($100,000+ of regular revenue).

On its about page, Crunchyroll says “[p]roceeds from the subscription service are shared among [their] content publishers”. It’s assumed that a portion of advertising revenue also goes toward that pool of creators. The question is whether the allocated distribution is based on a uniform rate or dependent of video views. That distinction could be be important for a studio in financial troubles like GONZO, which is undergoing restructuring.
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It seems like nary a few months pass before another one of Scott’s entries into his Anime Almanac weblog spawns a multitude of partisan objection. The latest incident involves an challenge between himself and the Reverse Thieves, whom I don’t regularly read but are apparently well-known, to confront each other’s comfort boundaries. For Scott, it was yaoi manga (specifically, the two-volume Gerard & Jacques) and for the not-quite-Robin Hoods, it was Kodomo no Jikan. (I have read neither work involved in the challenge so I have no opinion subjectively on either.)

The back-and-forth between author and readers (not between the two blogs) mainly focused on Scott’s reaction to a rape scene in the second volume of his assignment – he has since written an addendum on the matter – but there remained something in his original final paragraphs which I still felt the need to formally comment on in writing.
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