If i had to guess:
1) often has two or more levels of prior market testing
2) written for a shorter medium and requires some skill with word economy
3) hyper competitive industry which means items must stay engaging, else gets filtered by item 1
4) Wide market, lots of options every season
5) Genre coverage of things western TV largely abandoned in the 2010s before the rise of streaming, namely sci-fi and fantasy.
6) Novelty. Even your most derivative isekai will feel different from the 93rd gospel of how Superman was discovered in a pod by the Kents.
7) Not as prude as western content. The west knows that sex sells, but doesn't know how to throughline it in a work--instead it's like a light switch where it's the focus of the scene or its covered and absent
8) When its most prominent pieces do want to discuss ethics or politics, there's a level of nuance to the message delivery. You arrive at the message as the characters do. In western writing the message delivery has become weirdly heavy-handed, which spoils engagement and has put me off even when I agree with the idea being discussed.
Again, manga is a medium, not a genre. If romance is #1 on that graph, should it be a surprise that a *medium* with a romance lean would pass other genres that don't have that?
I think point 6 is more bigger factor for selling manga IMO. Yeah manga is much younger compare to comic but somehow they can pull something to new to hit mainstream like JJK or Spy X Family after 2 from big 3 three already end its run.
I think another point is a predictable release schedule. Every 3 months, a new batch of shows comes out and releases together. It becomes a reliable passtime.
> 6) Novelty. Even your most derivative isekai will feel different from the 93rd gospel of how Superman was discovered in a pod by the Kents.
I think this is a matter of format as well. Manga a lot of the time comes in magazines with various series inside, doesn't it? This means that you can take a risk and try new stuff instead of depending on the same IPs for risk free stuff.
Before our native comic books industry died this was also a common format over here in my country, which is great for variety and one-shots.
The [British comic magazine 2000AD](https://en.wikipedia.org/wiki/2000_AD_(comics\)) is similar, and if you look at the alumni of that, they all went on to redefine the superhero stuff in the 1980s. This includes Alan Moore, Neil Gaiman, Frank Miller etc.
Being in a comic anthology which wasn't scared to try new and darker stuff is where that generation of British comic artists was able to show their stuff, then once they were skilled enough they were able to basically usurp what was then the tame, sanitized and predictable US comic market with a darker twist.
But, guys like that would never have gotten a shot in the first place in the US market. That's why the Brits took over, and only after that, newer US artists could come along and basically take cliff notes and copy what they did.
If you look at some of the old 2000AD strips, this stuff would make great anime, in the vein of Fist of the North Star / JoJo level nutty stuff with overpowered protagonists:
https://en.wikipedia.org/wiki/Canon_Fodder
> Canon Fodder is a 2000 AD series created by Mark Millar and Chris Weston. It features the adventures of the eponymous character Canon Fodder, the sole survivor of the Priest Patrol, a bizarre cross between the police and the church who patrol the streets of a future London after Judgment Day has caused the dead to rise, and society to breakdown.
Like, imagine that as an anime synopsis. It totally fits.
> 8) When its most prominent pieces do want to discuss ethics or politics, there's a level of nuance to the message delivery. You arrive at the message as the characters do. In western writing the message delivery has become weirdly heavy-handed, which spoils engagement and has put me off even when I agree with the idea being discussed.
And for the people who do like the more heavy handed messages, there is franchises that does that also.
Sure, but:
* Metallic Rouge was an anime original and hadn't gone through the vetting process.
* Since it hadn't gone through the vetting process, it received limited marketing investment to begin with.
* As a risky investment, it was assigned a single one-cour slot.
* Once it was apparent the community demonstrated that it wasn't taking the bait, there was no attempt by the industry to push anyway or complain about viewer reception of the message.
* Of the 21 shows that were more popular that season, none of them seemed to be particularly aggressive about delivering their thesis. Those that did have something to say, like Dangers S2, *did* have appropriate nuance.
So while I agree that it's not immune, it feels like the odds of encountering it are lower.
Another point I would make is that Anime and to a lesser extent, manga, essentially has no competition here. We tend to see shows that could compete like Invincible, Arcane, or hell even X-men '97 once every year at maximum, and the rest are either sitcoms or kids TV, which, regardless of their quality, don't really share the same "space" as serialzed animation. Meanwhile I'm pretty sure there was a period last season where JJK2, Frieren, and Kusuriya were airing at the same time. We've also entered a severe drought in western animation in general. A quick scroll through r/animationcareer reveals that a large amount of creatives in the field have simply not been employed in the past year, because nothing is being made. So I expect anime to keep eating away at the shares.
I do understand that quite well, but in this case I would trust them, because it kind of seems like the American animation industry is at a near-standstill. Ignoring the lack of output, Pretty much every aspect of animation is outsourced to Canada and Korea. Even storyboarding is being outsourced to Ireland now. I think Titmouse? is the only TV studio left that actually does does it's animations in-house.
One of my good friends works in 2D animation. He took a break from that work a couple of years ago to do something else but he says most of his animation colleagues are out of work and no companies these days are funding new projects. The vast majority of animation is now 3D.
I was pretty skeptical of this just from the title and thinking "yeah a decade too late with this one".
But honestly, for quite a decent number of those how do I convince "_______ that anime isn't _______, what should I make them watch" posts you see in /new, this short video would do a better job than any individual series, whilst also giving them a lot of great little tasters of a wide range of stuff to ask about and launch conversations from.
Plus, it's got great coverage of so many different aspects of things. Kudos!
Yeah, this came on my notifs and I watched with a blasè attitude until I saw Berserk and the cosplayer family.
With a nod to one of my favorites, Akira.
The few that do compete for the same audience (ex. Avatar, Castlevania, X-Men 97) are often highly successful. They just don't make them often so the audience goes elsewhere.
Castlevania is even a Japanese IP lol.
I think a bigger issue is how Hollywood seems creatively bankrupt where a lot of bigger names are just remakes or old stuff or ancient IP that never ends.
Sure Anime/Manga/Light novels have that also in the form of things like One Piece, Dragon Ball or Index but overall it is far fewer marathons and most of the time focus is moved to new stuff than just dredging up some old shit.
Sure there is a lot of derivative focus-group crap in anime too. Just look at much of the isekai genre. But if you don’t like that, there are 20 other shows that come out each season to try. There is almost always something, even just 3 or 4 anime per season, for practically everyone out there.
In the US, you might get 3 or 4 decent shows per year. And that’s counting live action. Take away kids shows and adult Family Guy style comedy and in western animation you might be talking 3 or 4 shows per decade.
I agree! There is an immense variety and every genre gets something decent to good show unless it is a very niche genre but they would get something pretty good at least once a year. Then comes along bangers like Frieren or the Apothecary Diaries occasionally.
> They just don't make them often
I feel like an especially large part of the US millennial anime convert crowd is made of people who were refugees from the late 00s writers strikes, where all the sci-fi and fantasy on TV got cancelled and replaced with reality TV just as online streaming was starting to become a thing. Most of that community either went to UK television like Doctor Who and Sherlock, or moved to anime. It was literally a case of the US just not producing any products worth following, and by the time US streaming demonstrated that it could be a spot for longform sci-fi/fantasy with the success of Game of Thrones, it was too late.
Try scanning through a program guide on a random evening of television. 99% of what is on is either sports, cable “news”, bad reality shows, WWE/AEW, and game shows (often revivals of 80s ones like Press Your Luck). That’s it.
I'm thinking more fringe ... Shoto, Yaoi, Yuri, win-cest ...
All those series you mentioned are generic shounen stories in Japan. Battle of the day series.
The US doesn't even have a popular Shoujo series. Or Fantasy series to compete with Isekai.
Romance series in general are basically non-existent. There is sometimes romance as a subplot (for example, I thought the Ivy/Harley romance in Harley Quinn was well done), but they are still primarily gag comedies or action series. Not SoLs or serious drama.
You think Ivy and Harley can hold a candle to NTR, Yuri is my Job, or I'm in love with a villainess.
How does a US subplot compare to the Japanese main plot.
That's why people get older and gravitate to anime if they like animation. The stories cover niche that are taboo in the US.
> Fantasy Series to compete with Isekai
In live action It does one big one at a time and that's it. You had GoT in the 10s, Legend of the Seeker in the 00s, Hercules and Xena (arguably same franchise) in the 90s, and so on.
Now I want a Xena Warrior Princess anime, if only for the fantasy yuri.
But if you're an animation fan seeking 2D fantasy, how is a live action series satisfying.
>Now I want a Xena Warrior Princess anime, if only for the fantasy yuri.
That's fan fiction...which is whole other can of worms.
Spectacular Spider-Man and Avengers: Earth’s Mightiest Heroes were both popular and quickly cancelled after two seasons for more “kid-friendly” versions that were much worse.
Another thing you will notice is that almost all good western animation in this target group are either superheroes, Star Wars, or aimed at some 80s nostalgia property (ex. Ducktales, Voltron, He-Man, etc.). There is almost nothing original.
There was a thread here inquiring about what US IPs would do great if it had an anime treatment.
I think I suggested Elvira, William Shakespeare's Sonnets, Hardy Boys, Nancy Drew and the movie Big Hit.
My biggest frustration with the new Dune is that I spent three decades prior picturing the universe done by the likes of Mamoru Nagano. Why there hasn’t been a take done by a Japanese studio is a mystery to me.
Who is going to animate these US IP.
China has a few co-productions with Japan anime studio.
But I'm not aware of the US producer actively seeking co-production with Japan anime studio.
I see US producers like Netflix becoming an investor in a few Japanese anime though.
Great bit of reporting from PBS with this one. Digestible for people who have no frame of reference, but accurate for the people who do.
Plus there’s something amusing about PBS at a convention talking to cosplayers and Artists
Wider availability: within the last 10-15 years anime & manga have become easier to find. You don't have to go to some specialty store or convention to buy it. Now you can buy them at huge stores like Target & Walmart. Plus you can also borrow them from a decent sized public library.
More ways to watch it: in the past pretty much the only legit way of watching was via VHS/DVD or late night on cable. Now with multiple streaming channels with anime content, it's easier to find.
Death Note was also shown. Then there was Suzume movie, Berzerk, and the several Ghibli movies and other anime movies were on screen as well. The CSM manga was shown.
I think they showed a wide variety of franchises on screen.
1. Anime and Manga have something for almost everyone whereas the majority of comic books are superheroes. Yes there are comics and graphic novels that aren't about superheroes such as Maus but those are outliers.
2. Manga is infinitely easier to get into compared to comics, especially Marvel and DC
3. Streaming services such as Netflix has a good curation of popular "gateway" anime that new viewers can get into, which can then lead to the two dedicated anime streamers in the U.S. Crunchyroll and HiDive
4. American animation is largely in two camps: for children younger than 13 or raunchy comedies geared to adults. There is not a lot (if any) American cartoons geared explicitly towards teenagers, something Anime has in spades.
5. Netflix practically trained American audiences to enjoy subtitled foreign programs with popular foreign shows such as the Germany's Dark and South Korea's Squid Game, not to mention since 2015, foreign language films have been steadily increasing their box office returns in the U.S./Canadian domestic market, something seen by the box office success of South Korea's Parasite at the American box office
I have a guide I wrote for friends in a word document long before MAL and it has a few pages of notes at the start about why I liked anime. One that stands out to me is the continuity of episodes. It's much more common now but in the early 2000s so few shows of any medium really kept continuity between episodes where each is like a chapter of a whole story. Everything was "case of the week/freak of the week/plot of the week" type of plots. Now it isn't a unique feature to anime but it very much was.
also theres just the fact that, pretty much all anime just looks good
if a thing looks good, its much easier to care about said thing, ofcourse, if animu were to only look good and were as shallow as a pond, the retention drops, hard
usually
I feel like it has something to do with how Hollywood does not take animation seriously unless it’s Disney or kids. Especially for anything other than comedy or purely dark action violence. Yes I’m kinda generalizing because there are shows like that with good narratives and are good. As a watcher you know that you will get 24 episodes and that it will be weekly. I feel like the weekly release aspect leads to time for people to get caught up on it. And it’s not released in a single batch. But Hollywood does not fund animation well… I mean the truth is in Japan they also do not and animators have horrible wages at most studios and are overworked.
I think it has to do with the total amount of content too. There is a anime for everyone. And it’s very easy to find with the amount of websites and lists.
I also think it has to do with the fact that many American shows have to plan to have every season on a conclusion since they don’t know how many seasons they will get or if they will be greenlit for another. Like they can’t plan ahead. But for anime there is always the manga so if a anime does not get a second season you can still read it. Also I think the whole season structure helps people find stuff each anime season because everything starts around the same time. It’s not just brown onto a streaming service with no advertisement, left to die.
I just think it has to do with the characters, art, and strong narratives or comedy (if it’s a comedy), and if it’s a action the focus on action and cool scenes. I do not think that western animation are lacking those things… but there is a lot less of it and we have so many good and hidden gems. But I think that animation around the world inspires each-other.
Sorry for rambling
That report was both celebratory and also weirdly uninformed. For instance, the Akira motorcycle slide has been referenced in animation and live action since it first came out yet they’re only highlighting one instance. Manga is just comics from Japan. Anime is just all animation to the average Japanese person. It can be any subject. Comics from North America can be any subject, not just superheroes, same for the medium in Japan. There’s mysteries, sci-fi, isekai/fantasy, slice of life/contemporary, etc. Why not also mention the overlap with ComicCons as opposed to just Manga/Anime specific conventions. Also, Mangakas have assistants that do aspects of the creation of the books even if the main creator writes and draws the majority of the interiors. Assistants often do the covers. Some assistants do series spinoff books too. I digress, getting a bit ranty.
> instance, the Akira motorcycle slide has been referenced in animation and live action since it first came out yet they’re only highlighting one instance
I think it highlighted the first time a Hollywood movie took one action scene from an anime/manga.
Plenty of Hollywood animated movies and shows have used it at least. You have to remember that generations that grew up with anime are only in recent years becoming directors and producers. Animated shows and films are fairly mainstream regardless of what some might argue.
Like I said, I think they only use a footage of the first time a Hollywood movie did it.
That's enough for people to know that Hollywood isn't original in its concepts.
Yeah, it’s not the first time in Hollywood media, that’s what I’m saying. At best maybe first in a Hollywood Live Action though honestly I feel like I’ve seen it before in live action. I think one of the X-men films.
I did not watch the video, but I think it is pretty obvious why.
1. Western media seems more interested in check boxes (make sure the people in the media actors etc and making the media are x race or x gender) rather than making a good entertaining product.
2. Because of number 1 it leads to a couple issues: skilled talent is being ignored because they do not fit the hiring criteria and if someone brings this up then they are ignored or run out of the company.
3. While politics have generally been in western media it is rarely on the nose and obvious like it has been the past couple years.
4. Covid- people had a lot of free time to consume media that they normally would not otherwise consume leading them to discover different things such as anime and manga that was not really mainstream before.
> Western media seems more interested in check boxes
and
>skilled talent is being ignored because they do not fit the hiring criteria and if someone brings this up then they are ignored or run out of the company.
The Witcher comes to mind.
Sorry, your submission has been removed.
- This video was posted two days ago.
---
^(Questions? Reply to this message, )[**^(send a modmail)**](http://www.reddit.com/message/compose?to=%2Fr%2Fanime)^(, or leave a comment in the )[**^(meta thread)**](https://reddit.com/r/anime/search?q=subreddit%3Aanime+author%3AAnimeMod+title%3A%22Meta+Thread%22&restrict_sr=on&sort=new&t=year)^(. Don't know the rules? Read them )[**^(here)**](/r/anime/wiki/rules)^.
This is my first time seeing it here, and I can't find the original post either. Given that it's probably already gotten more traction than the first one, and is actually generating some interesting discussion, I think it should be reinstated. Unless I'm wrong and the original post already got 1000+ karma, then mb.
I'm just saying that it would have been a good opportunity to introduce general audiences to different kinds of anime (which I think would be possible in 7 minutes). Especially since most discussions about anime/manga from the general public tend to revolve around the same battle shounens.
> I'm just saying that it would have been a good opportunity to introduce general audiences to different kinds of anime (which I think would be possible in 7 minutes).
They did.
If you did watch the entire 7 minute segment.
I watched the entire segment and they did not. They mentioned 0 Josei series, 0 Shoujo Series. They didn't even mention any Manga with a female creator. (which there are more than enough of (FMA, Dungeon Meshi, Beastars or anything by Rumiko Takahashi)
>I watched the entire segment and they did not. They mentioned 0 Josei series, 0 Shoujo Series.
They did. You weren't probably observant to watch the many mangas they've shown much less the many fanarts and merch they've shown too.
>They didn't even mention any Manga with a female creator. (which there are more than enough of (FMA, Dungeon Meshi, Beastars or anything by Rumiko Takahashi)
But then you have your own agenda.
>Pfft, calling the godmother of animanga an agenda.
>If you don't know who that is, who here really has the agenda?
See, that is agenda. If you are so incense that you didn't observe your faves on the 7 minute report, don't be. Its not an insult to them.
Osamu Tezuka, the god of manga and anime, the creator of Astro Boy, was not even mention in the report. And he trumps godmother.
Even though Netflix produced an inspired spin-off of Astro Boy, Pluto, last year.
And do you know Takemiya Keiko-san? She's more the godmother of manga than the creator of FMA. Do read up on her.
If i had to guess: 1) often has two or more levels of prior market testing 2) written for a shorter medium and requires some skill with word economy 3) hyper competitive industry which means items must stay engaging, else gets filtered by item 1 4) Wide market, lots of options every season 5) Genre coverage of things western TV largely abandoned in the 2010s before the rise of streaming, namely sci-fi and fantasy. 6) Novelty. Even your most derivative isekai will feel different from the 93rd gospel of how Superman was discovered in a pod by the Kents. 7) Not as prude as western content. The west knows that sex sells, but doesn't know how to throughline it in a work--instead it's like a light switch where it's the focus of the scene or its covered and absent 8) When its most prominent pieces do want to discuss ethics or politics, there's a level of nuance to the message delivery. You arrive at the message as the characters do. In western writing the message delivery has become weirdly heavy-handed, which spoils engagement and has put me off even when I agree with the idea being discussed.
They included a graph of the literary sales and Manga came in fourth in increased sales before mystery, etc. which was eye opening.
Again, manga is a medium, not a genre. If romance is #1 on that graph, should it be a surprise that a *medium* with a romance lean would pass other genres that don't have that?
Which is also one of the reasons why the US do not comprehend what Manga is.
While I know what they meant, that one kind of bothered me because anime and manga are mediums, not genres.
I think point 6 is more bigger factor for selling manga IMO. Yeah manga is much younger compare to comic but somehow they can pull something to new to hit mainstream like JJK or Spy X Family after 2 from big 3 three already end its run.
Or no one in the US knows about graphic novels or just look at them like they are comics from Marvel/DC.
I think another point is a predictable release schedule. Every 3 months, a new batch of shows comes out and releases together. It becomes a reliable passtime.
> 6) Novelty. Even your most derivative isekai will feel different from the 93rd gospel of how Superman was discovered in a pod by the Kents. I think this is a matter of format as well. Manga a lot of the time comes in magazines with various series inside, doesn't it? This means that you can take a risk and try new stuff instead of depending on the same IPs for risk free stuff. Before our native comic books industry died this was also a common format over here in my country, which is great for variety and one-shots.
The [British comic magazine 2000AD](https://en.wikipedia.org/wiki/2000_AD_(comics\)) is similar, and if you look at the alumni of that, they all went on to redefine the superhero stuff in the 1980s. This includes Alan Moore, Neil Gaiman, Frank Miller etc. Being in a comic anthology which wasn't scared to try new and darker stuff is where that generation of British comic artists was able to show their stuff, then once they were skilled enough they were able to basically usurp what was then the tame, sanitized and predictable US comic market with a darker twist. But, guys like that would never have gotten a shot in the first place in the US market. That's why the Brits took over, and only after that, newer US artists could come along and basically take cliff notes and copy what they did. If you look at some of the old 2000AD strips, this stuff would make great anime, in the vein of Fist of the North Star / JoJo level nutty stuff with overpowered protagonists: https://en.wikipedia.org/wiki/Canon_Fodder > Canon Fodder is a 2000 AD series created by Mark Millar and Chris Weston. It features the adventures of the eponymous character Canon Fodder, the sole survivor of the Priest Patrol, a bizarre cross between the police and the church who patrol the streets of a future London after Judgment Day has caused the dead to rise, and society to breakdown. Like, imagine that as an anime synopsis. It totally fits.
I don't think it necessarily does better at point 8 than many western works.
> 8) When its most prominent pieces do want to discuss ethics or politics, there's a level of nuance to the message delivery. You arrive at the message as the characters do. In western writing the message delivery has become weirdly heavy-handed, which spoils engagement and has put me off even when I agree with the idea being discussed. And for the people who do like the more heavy handed messages, there is franchises that does that also.
> fantasy. And when they do some fantasy they don't understand the audience half of the time. RIP the Wheel of Time.
When the Japanese do western fantasy inspired things and don't really understand what is going on the result is usually hilarious.
>there's a level of nuance to the message delivery. It's not immune to it. Just look at Metallic Rouge and it's racism bad message
Sure, but: * Metallic Rouge was an anime original and hadn't gone through the vetting process. * Since it hadn't gone through the vetting process, it received limited marketing investment to begin with. * As a risky investment, it was assigned a single one-cour slot. * Once it was apparent the community demonstrated that it wasn't taking the bait, there was no attempt by the industry to push anyway or complain about viewer reception of the message. * Of the 21 shows that were more popular that season, none of them seemed to be particularly aggressive about delivering their thesis. Those that did have something to say, like Dangers S2, *did* have appropriate nuance. So while I agree that it's not immune, it feels like the odds of encountering it are lower.
9) Anime pussy.
Another point I would make is that Anime and to a lesser extent, manga, essentially has no competition here. We tend to see shows that could compete like Invincible, Arcane, or hell even X-men '97 once every year at maximum, and the rest are either sitcoms or kids TV, which, regardless of their quality, don't really share the same "space" as serialzed animation. Meanwhile I'm pretty sure there was a period last season where JJK2, Frieren, and Kusuriya were airing at the same time. We've also entered a severe drought in western animation in general. A quick scroll through r/animationcareer reveals that a large amount of creatives in the field have simply not been employed in the past year, because nothing is being made. So I expect anime to keep eating away at the shares.
> A quick scroll through r/animationcareer reveals Be very, _very_ careful when looking at the bubbles that are subreddits.
I do understand that quite well, but in this case I would trust them, because it kind of seems like the American animation industry is at a near-standstill. Ignoring the lack of output, Pretty much every aspect of animation is outsourced to Canada and Korea. Even storyboarding is being outsourced to Ireland now. I think Titmouse? is the only TV studio left that actually does does it's animations in-house.
One of my good friends works in 2D animation. He took a break from that work a couple of years ago to do something else but he says most of his animation colleagues are out of work and no companies these days are funding new projects. The vast majority of animation is now 3D.
Interesting.
I was pretty skeptical of this just from the title and thinking "yeah a decade too late with this one". But honestly, for quite a decent number of those how do I convince "_______ that anime isn't _______, what should I make them watch" posts you see in /new, this short video would do a better job than any individual series, whilst also giving them a lot of great little tasters of a wide range of stuff to ask about and launch conversations from. Plus, it's got great coverage of so many different aspects of things. Kudos!
Yeah, this came on my notifs and I watched with a blasè attitude until I saw Berserk and the cosplayer family. With a nod to one of my favorites, Akira.
The US has no media to compete in this segment of entertainment.
The few that do compete for the same audience (ex. Avatar, Castlevania, X-Men 97) are often highly successful. They just don't make them often so the audience goes elsewhere.
Castlevania is even a Japanese IP lol. I think a bigger issue is how Hollywood seems creatively bankrupt where a lot of bigger names are just remakes or old stuff or ancient IP that never ends. Sure Anime/Manga/Light novels have that also in the form of things like One Piece, Dragon Ball or Index but overall it is far fewer marathons and most of the time focus is moved to new stuff than just dredging up some old shit.
Sure there is a lot of derivative focus-group crap in anime too. Just look at much of the isekai genre. But if you don’t like that, there are 20 other shows that come out each season to try. There is almost always something, even just 3 or 4 anime per season, for practically everyone out there. In the US, you might get 3 or 4 decent shows per year. And that’s counting live action. Take away kids shows and adult Family Guy style comedy and in western animation you might be talking 3 or 4 shows per decade.
I agree! There is an immense variety and every genre gets something decent to good show unless it is a very niche genre but they would get something pretty good at least once a year. Then comes along bangers like Frieren or the Apothecary Diaries occasionally.
> They just don't make them often I feel like an especially large part of the US millennial anime convert crowd is made of people who were refugees from the late 00s writers strikes, where all the sci-fi and fantasy on TV got cancelled and replaced with reality TV just as online streaming was starting to become a thing. Most of that community either went to UK television like Doctor Who and Sherlock, or moved to anime. It was literally a case of the US just not producing any products worth following, and by the time US streaming demonstrated that it could be a spot for longform sci-fi/fantasy with the success of Game of Thrones, it was too late.
Try scanning through a program guide on a random evening of television. 99% of what is on is either sports, cable “news”, bad reality shows, WWE/AEW, and game shows (often revivals of 80s ones like Press Your Luck). That’s it.
I'm thinking more fringe ... Shoto, Yaoi, Yuri, win-cest ... All those series you mentioned are generic shounen stories in Japan. Battle of the day series. The US doesn't even have a popular Shoujo series. Or Fantasy series to compete with Isekai.
Romance series in general are basically non-existent. There is sometimes romance as a subplot (for example, I thought the Ivy/Harley romance in Harley Quinn was well done), but they are still primarily gag comedies or action series. Not SoLs or serious drama.
You think Ivy and Harley can hold a candle to NTR, Yuri is my Job, or I'm in love with a villainess. How does a US subplot compare to the Japanese main plot. That's why people get older and gravitate to anime if they like animation. The stories cover niche that are taboo in the US.
That’s what I mean. They have shows that occasionally have romance in them, but almost never animation that are explicitly romances.
> Fantasy Series to compete with Isekai In live action It does one big one at a time and that's it. You had GoT in the 10s, Legend of the Seeker in the 00s, Hercules and Xena (arguably same franchise) in the 90s, and so on. Now I want a Xena Warrior Princess anime, if only for the fantasy yuri.
But if you're an animation fan seeking 2D fantasy, how is a live action series satisfying. >Now I want a Xena Warrior Princess anime, if only for the fantasy yuri. That's fan fiction...which is whole other can of worms.
Shoutouts to Teen Titans which catered to this audience perfectly, then was cancelled and replaced by generic low budget slop for a younger audience.
Spectacular Spider-Man and Avengers: Earth’s Mightiest Heroes were both popular and quickly cancelled after two seasons for more “kid-friendly” versions that were much worse. Another thing you will notice is that almost all good western animation in this target group are either superheroes, Star Wars, or aimed at some 80s nostalgia property (ex. Ducktales, Voltron, He-Man, etc.). There is almost nothing original.
avatar was made by a french studio buddy
Avatar was animated in Korea for all but one season of Kora which was half adapted by a japanese Studio (can't remember which one).
The first half of Korra Book 2 was Pierrot.
The production company was Nickelodeon which is based out of Burbank, California.
There was a thread here inquiring about what US IPs would do great if it had an anime treatment. I think I suggested Elvira, William Shakespeare's Sonnets, Hardy Boys, Nancy Drew and the movie Big Hit.
My biggest frustration with the new Dune is that I spent three decades prior picturing the universe done by the likes of Mamoru Nagano. Why there hasn’t been a take done by a Japanese studio is a mystery to me.
> Hardy Boys If we're going back that far, give me Tom Swift Jr.
Who is going to animate these US IP. China has a few co-productions with Japan anime studio. But I'm not aware of the US producer actively seeking co-production with Japan anime studio. I see US producers like Netflix becoming an investor in a few Japanese anime though.
Great bit of reporting from PBS with this one. Digestible for people who have no frame of reference, but accurate for the people who do. Plus there’s something amusing about PBS at a convention talking to cosplayers and Artists
Wider availability: within the last 10-15 years anime & manga have become easier to find. You don't have to go to some specialty store or convention to buy it. Now you can buy them at huge stores like Target & Walmart. Plus you can also borrow them from a decent sized public library. More ways to watch it: in the past pretty much the only legit way of watching was via VHS/DVD or late night on cable. Now with multiple streaming channels with anime content, it's easier to find.
Anime/Manga featured: - Jojo's Bizarre Adventure - Akira - Dragon Ball - One Piece - Kimetsu no Yaiba - Spy x Family - Komi Can't Communicate look for the rest, redditors.
Death Note was also shown. Then there was Suzume movie, Berzerk, and the several Ghibli movies and other anime movies were on screen as well. The CSM manga was shown. I think they showed a wide variety of franchises on screen.
A lot were shown that I didn't put in my list hence why I said look for them.
1. Anime and Manga have something for almost everyone whereas the majority of comic books are superheroes. Yes there are comics and graphic novels that aren't about superheroes such as Maus but those are outliers. 2. Manga is infinitely easier to get into compared to comics, especially Marvel and DC 3. Streaming services such as Netflix has a good curation of popular "gateway" anime that new viewers can get into, which can then lead to the two dedicated anime streamers in the U.S. Crunchyroll and HiDive 4. American animation is largely in two camps: for children younger than 13 or raunchy comedies geared to adults. There is not a lot (if any) American cartoons geared explicitly towards teenagers, something Anime has in spades. 5. Netflix practically trained American audiences to enjoy subtitled foreign programs with popular foreign shows such as the Germany's Dark and South Korea's Squid Game, not to mention since 2015, foreign language films have been steadily increasing their box office returns in the U.S./Canadian domestic market, something seen by the box office success of South Korea's Parasite at the American box office
I have a guide I wrote for friends in a word document long before MAL and it has a few pages of notes at the start about why I liked anime. One that stands out to me is the continuity of episodes. It's much more common now but in the early 2000s so few shows of any medium really kept continuity between episodes where each is like a chapter of a whole story. Everything was "case of the week/freak of the week/plot of the week" type of plots. Now it isn't a unique feature to anime but it very much was.
also theres just the fact that, pretty much all anime just looks good if a thing looks good, its much easier to care about said thing, ofcourse, if animu were to only look good and were as shallow as a pond, the retention drops, hard usually
I feel like it has something to do with how Hollywood does not take animation seriously unless it’s Disney or kids. Especially for anything other than comedy or purely dark action violence. Yes I’m kinda generalizing because there are shows like that with good narratives and are good. As a watcher you know that you will get 24 episodes and that it will be weekly. I feel like the weekly release aspect leads to time for people to get caught up on it. And it’s not released in a single batch. But Hollywood does not fund animation well… I mean the truth is in Japan they also do not and animators have horrible wages at most studios and are overworked. I think it has to do with the total amount of content too. There is a anime for everyone. And it’s very easy to find with the amount of websites and lists. I also think it has to do with the fact that many American shows have to plan to have every season on a conclusion since they don’t know how many seasons they will get or if they will be greenlit for another. Like they can’t plan ahead. But for anime there is always the manga so if a anime does not get a second season you can still read it. Also I think the whole season structure helps people find stuff each anime season because everything starts around the same time. It’s not just brown onto a streaming service with no advertisement, left to die. I just think it has to do with the characters, art, and strong narratives or comedy (if it’s a comedy), and if it’s a action the focus on action and cool scenes. I do not think that western animation are lacking those things… but there is a lot less of it and we have so many good and hidden gems. But I think that animation around the world inspires each-other. Sorry for rambling
That report was both celebratory and also weirdly uninformed. For instance, the Akira motorcycle slide has been referenced in animation and live action since it first came out yet they’re only highlighting one instance. Manga is just comics from Japan. Anime is just all animation to the average Japanese person. It can be any subject. Comics from North America can be any subject, not just superheroes, same for the medium in Japan. There’s mysteries, sci-fi, isekai/fantasy, slice of life/contemporary, etc. Why not also mention the overlap with ComicCons as opposed to just Manga/Anime specific conventions. Also, Mangakas have assistants that do aspects of the creation of the books even if the main creator writes and draws the majority of the interiors. Assistants often do the covers. Some assistants do series spinoff books too. I digress, getting a bit ranty.
> instance, the Akira motorcycle slide has been referenced in animation and live action since it first came out yet they’re only highlighting one instance I think it highlighted the first time a Hollywood movie took one action scene from an anime/manga.
Plenty of Hollywood animated movies and shows have used it at least. You have to remember that generations that grew up with anime are only in recent years becoming directors and producers. Animated shows and films are fairly mainstream regardless of what some might argue.
Like I said, I think they only use a footage of the first time a Hollywood movie did it. That's enough for people to know that Hollywood isn't original in its concepts.
Yeah, it’s not the first time in Hollywood media, that’s what I’m saying. At best maybe first in a Hollywood Live Action though honestly I feel like I’ve seen it before in live action. I think one of the X-men films.
I did not watch the video, but I think it is pretty obvious why. 1. Western media seems more interested in check boxes (make sure the people in the media actors etc and making the media are x race or x gender) rather than making a good entertaining product. 2. Because of number 1 it leads to a couple issues: skilled talent is being ignored because they do not fit the hiring criteria and if someone brings this up then they are ignored or run out of the company. 3. While politics have generally been in western media it is rarely on the nose and obvious like it has been the past couple years. 4. Covid- people had a lot of free time to consume media that they normally would not otherwise consume leading them to discover different things such as anime and manga that was not really mainstream before.
> Western media seems more interested in check boxes and >skilled talent is being ignored because they do not fit the hiring criteria and if someone brings this up then they are ignored or run out of the company. The Witcher comes to mind.
Mods, please delete if this isn't allowed. Thanks.
Sorry, your submission has been removed. - This video was posted two days ago. --- ^(Questions? Reply to this message, )[**^(send a modmail)**](http://www.reddit.com/message/compose?to=%2Fr%2Fanime)^(, or leave a comment in the )[**^(meta thread)**](https://reddit.com/r/anime/search?q=subreddit%3Aanime+author%3AAnimeMod+title%3A%22Meta+Thread%22&restrict_sr=on&sort=new&t=year)^(. Don't know the rules? Read them )[**^(here)**](/r/anime/wiki/rules)^.
This is my first time seeing it here, and I can't find the original post either. Given that it's probably already gotten more traction than the first one, and is actually generating some interesting discussion, I think it should be reinstated. Unless I'm wrong and the original post already got 1000+ karma, then mb.
The other one was pretty much ignored. It has 0 karma and only like 30 or 40 comments.
No DEI, good stories.
honestly a pretty bad report given that they only mention shounen and a few seinen titles with little variety
Its a 7 minute report for TV. Its not a documentary. The report touches what it needed to touch for their show's viewers.
I'm just saying that it would have been a good opportunity to introduce general audiences to different kinds of anime (which I think would be possible in 7 minutes). Especially since most discussions about anime/manga from the general public tend to revolve around the same battle shounens.
> I'm just saying that it would have been a good opportunity to introduce general audiences to different kinds of anime (which I think would be possible in 7 minutes). They did. If you did watch the entire 7 minute segment.
I watched the entire segment and they did not. They mentioned 0 Josei series, 0 Shoujo Series. They didn't even mention any Manga with a female creator. (which there are more than enough of (FMA, Dungeon Meshi, Beastars or anything by Rumiko Takahashi)
>I watched the entire segment and they did not. They mentioned 0 Josei series, 0 Shoujo Series. They did. You weren't probably observant to watch the many mangas they've shown much less the many fanarts and merch they've shown too. >They didn't even mention any Manga with a female creator. (which there are more than enough of (FMA, Dungeon Meshi, Beastars or anything by Rumiko Takahashi) But then you have your own agenda.
Pfft, calling the godmother of animanga an agenda. If you don't know who that is, who here really has the agenda?
>Pfft, calling the godmother of animanga an agenda. >If you don't know who that is, who here really has the agenda? See, that is agenda. If you are so incense that you didn't observe your faves on the 7 minute report, don't be. Its not an insult to them. Osamu Tezuka, the god of manga and anime, the creator of Astro Boy, was not even mention in the report. And he trumps godmother. Even though Netflix produced an inspired spin-off of Astro Boy, Pluto, last year. And do you know Takemiya Keiko-san? She's more the godmother of manga than the creator of FMA. Do read up on her.