UlasanAnime.com – A recent article on CNN’s geek blog, while offering a generally positive overview of anime’s evolution, missed a crucial point regarding the perception of Japan and its cultural output. The author, Colette, touched upon the shift in anime’s tone and subject matter, particularly noting the rise of “slice of life” genres and shorter series. However, the piece seemed to frame this evolution primarily through a Western lens, overlooking the underlying social and cultural context within Japan itself.
While the initial segments of the article provided a decent summary, the latter part diverged from a nuanced understanding. The article suggested that as Japanese culture evolves, so does the tone of its media, implying a national need for lighter fare and escapism. It pointed to the shift from 26-episode series to 13 episodes as evidence of a focus on quantity over quality, with numerous shows airing each season. Furthermore, it posited that this lighter approach, especially after the Tohoku earthquake, served as a source of positivity for the Japanese populace.
So what’s changed? Japan has. As Japanese culture evolves, so has the tone of Japanese media. The evolution towards anime with lighter subject matter seems to indicate that Japan needed to laugh more and worry less.
Around the time that “slice of life” shows started to explode in Japanese popularity, it became obvious to the dedicated Otaku viewer that the heart of anime was changing. For example, the average length of a show has changed from 26 episodes to 13, giving directors a little over half the time to build a story and allow characters to develop fan followings. Production focuses on quantity over quality, with twenty or more shows airing every season.
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This lighter approach has not taken the reins of the anime industry completely: There are deeper stories to be found in its animated films, such as “The Girl Who Leapt Through Time” and series such as “Eden of the East”, which explored topics such as technology, terrorism and political uprising.
To some, it may appear as if Japan has traded a willing exploration into the darkness for escapism in the form of silliness, but the rising popularity of comedies shows that Japanese audiences are enjoying them tremendously. Especially after the Tokoku earthquake earlier this year, the country needs more reason than ever to stay positive and lighthearted, and perhaps shows such as this help to fuel them.
The article implies that America’s awareness of anime began in the 80s, a period often considered its first golden age for international audiences. Anime has, of course, been evolving since its inception in the early 20th century, long before its prime-time television debut. Even the “slice of life” genre, though perhaps loathed by some, has existed for a considerable time, tracing its roots back to the era of standalone TV anime, similar to Western cartoons.
However, this perspective overlooks significant developments, such as the “Akiba boom” of the 90s, which brought forth elements like maid cafes, tsundere characters, and a proliferation of detailed character archetypes. While films like “The Girl Who Leapt Through Time” are indeed noteworthy, the article’s framing leans heavily towards a mainstream Western and American-centric view. It misses the fundamental reason behind the creation of works like “Eden of the East,” which were intended to address Japan’s own social issues, particularly those affecting the “Lost Generation.” The piece also glosses over the realities of the international licensing business, where shorter, 13-episode series are often favored over longer-running titles due to easier pitching and sales. In an economy struggling to gain traction, Japanese publishers and a constrained pool of animators face limitations in taking creative risks, especially after the decline of the OVA market and the subsequent shift to the late-night anime model in the late 90s.
For a CNN article, it was certainly well-written and likely resonated with a broad, anime-familiar audience consuming English news online. Nevertheless, by centering its inquiry on the evolution of American perception of anime, the article positions itself on a “wall of natural ignorance.” This viewpoint empathizes with those on this perch rather than with individuals who have delved deeper into the subject matter, nor with the actual Japanese people and the anime industry operating within Japan.
If this perspective represents the majority view among mainstream Western geeks, a critical question arises: has anime truly brought viewers closer to understanding Japan’s actual cultural and social interests? Do we genuinely comprehend what is happening within Japan? The answer is rather apparent – many are more concerned with the amount of fanservice in anime today than with understanding its underlying reasons for existence.
What is particularly regrettable is how such an article overlooks the recent development of anime fandom. Today, there are numerous non-Japanese individuals producing academic papers and theses on the influence of Japanese pop culture on Japan, America, and the rest of the world. A wealth of academic and non-academic literature exists on anime, manga, and Japanese video games. Figures like Danny Choo, who has even appeared on CNN, represent this growing engagement. In comment sections, discussions even touch upon concepts like “moe blobs” or “tsundere.” Overseas fandom has evolved significantly since the days when “Cowboy Bebop” was universally placed on the highest pedestal. A new generation of fans is actively asking the why questions, engaging with the works on a far more profound level. These are the true geeks and nerds who are not merely tourists marveling at Japanese cartoons, but are actively learning about them and engaging with them at a fundamental level, as much as their circumstances allow.
Amusingly, Colette herself is the type of person who asks the why questions, even using it to frame the conclusion of her article. Perhaps, then, this discussion is not truly about Japan or even anime itself, but rather about a particular school of thought, a specific faction within a subculture in America. I recall my own excitement watching Toonami’s Midnight Run, specifically when “Gundam Wing” was featured. “Gundam!” on American television for the first time! The quintessential Japanese symbol of geek culture had arrived on a widely accessible channel! Yet, it is not even mentioned in Colette’s article. This suggests that even before the narrative of anime’s supposed “downfall” began, one could easily argue that very little has fundamentally changed about anime when comparing the perspectives of viewers watching Toonami in their formative teenage years to the present day.
