Let’s say, if you went to a typical sit-down restaurant in America and order some food. The waiter provides your table with a basket of bread as per custom at the establishment, and seeing you are very hungry the waiter decides to give you extra bread. Is this appropriate? I would think so, and most people probably wouldn’t even bat an eye.
Let’s say, if you spend a few hundred bucks and bought some late-night anime. The anime provides you with the content you thought you were getting. And seeing that this is the home video BD that you now own after parting a few hundred USDs or whatever currency, it provides some bonus material with extra T&A. Is this appropriate? I would think so, but some people calls this pandering.
Actually, it is pandering. But isn’t this wanted? Wouldn’t it be better to have this than not have this?
This kind of made me think, in an orthogonal way, about the price of anime and the nature of its target audience. I am sort of pro-cheap anime in the sense that it makes access easy. And more access is better for access-starved international audience of anime, it’s hand-in-hand with marketing, as far as major areas of improvement for the state of the “anime industry” overseas. It’s more democratic. But I guess as with many things, there are down sides or unintended negative consequences to that. Well, maybe it’s not a negative consequence, but it’s naturally what happens when the signal-to-noise ratio drops.
There’s a fair amount of academic literature on the effects of internet and mass media and “noise” in terms of how to make the internet useful. I think we can apply the same idea to anime in that anime for the masses should be cheap and easy to reach. But anime for specific, intended small groups should be harder. And it is; in that naturally the marketing dollar isn’t there, fewer people care about it and fewer people talk about it. But when what represents anime overseas is this small sample, what then? Cool Japan is not about Doreamon or Sanae-san but Evangelion or Pokemon right? I guess Pokemon is mainstream in that sense. But people don’t pass judgment on anime because they are in that niche. Anime is a marketing word, but that is probably a bad thing for the medium/genre in the long run, if you want to capture its diversity. Or rather, if you want to capture what passes for anime in the 21st century. Of course, the problem is also kind of the fact that there aren’t many anime titles that fits the Dragon Ball Z kind of profile in the 21st century; as in there hasn’t been more exceptions to the rule for companies like FUNimation to profit on. And all the anime-cancer sentiments is really built on this kind of mentality.
There’s this zone in oversea criticism that this is missed. It’s like all the people who think about anime in the framework of Mamoru Oshii’s works. Like, com’on. Maybe you’ll be more credible from Hayao Miyazaki’s framework. Can you just stick to Battle of the Planets and Speed Racer? Is this even relevant in the 21st Century beyond as a curiosity? Is Tezuka relevant beyond just his influence? Hasn’t anime changed enough in the last 50 years to, you know, come up with something new?
In other words, are people even watching the right anime? Is it because “anime” is too accessible, too plentiful, that people don’t even know what they really shouldn’t be watching? If the only way to watch anime is pony up some $50 or $100 to catch 1-2 cours of it, you probably would really want to know what it is before putting down the money. It makes people care. A lot more.
It also highlights the problem with marketing of anime overseas. There are little ways to “send signals” about shows as to who should watch what, from the homeland. And it’s full of lost-in-translation perils. If we have to rely on the likes of blogs that do season previews, then we are hopeless. I mean at least back in the days, people just hyped specific shows because they knew it was going to be something interesting as a reflection of Japan’s internal marketing and the buzz from its domestic fanbase. Now we just have people writing about every which thing, and it’s hard to say who knows enough or do enough homework to sift through the 50+ shows every season–if to just not get any one of them wrong, let alone more than a few of them right.
Maybe this is a call to people to watch anime in a way that treats it right–not just as disposable internet butt-wipe, a passing joke. Not every show is shovelware, not every show deserves your attention. But do enough to gain the appreciation for those the anime that you will fall in love with, before it happens. Maybe both you and the shows you watch will be better off as a result.
But I realize, the problem is also the general lack of easy-to-use tools. Which makes me think the Real Problem of Anime(tm) is still marketing. Which is odd/ironic, because most anime are just advertisement for something else. But it also makes sense if you think about it, and do more research. If people gets the right idea from marketing material on the get go, they wouldn’t even bother with a lot of the anime out there. But without the societal attitudes and otaku groups that form naturally to lay down the rules for people to watch whatever it is, what passes for marketing in Japan might not even work as is. Instead, oversea fans gets just piecemeal of all of this and who knows how effective that is.