UlasanAnime.com – The ease of “farming” content from platforms like Twitter is amplified when someone has already curated the relevant tweets. This is exemplified by a snippet, originally from an interview with three key individuals behind the anime series Guilty Crown, which was shared by Moritheil. This situation, unfortunately, leads to a recurring discussion about the show.
It seems that a vocal segment of internet users has a skewed perception of what constitutes “mainstream” entertainment. When I consider mainstream entertainment, I think of phenomena like Michael Jackson’s music, the Transformers film franchise, or even classic characters like Donald Duck. The idea that Guilty Crown specifically caters to the male otaku niche feels misplaced; it’s akin to suggesting that action-packed, violent Hollywood science fiction blockbusters like Avatar or Transformers are exclusively targeting a niche otaku audience. I believe these terms are being used incorrectly by some individuals, including the author of a piece on The Cart Driver blog.
The subsequent Twitter conversation delved into various aspects of the noitaminA programming block and its associated shows. While these details might be crucial for marketing and licensing professionals involved with noitaminA, for international viewers who recognize the brand, it serves as a general indicator of their perception. However, I wouldn’t place too much reliance on such interpretations.
Unfortunately, it’s not usually feasible for the average consumer to “reverse engineer” a brand’s image, especially when it’s presented without clear direction from its creators. This is particularly true when dealing with a multi-faceted franchising effort, and even more so when the primary content is not in a language they understand. Many people seem to be critiquing the brand without a clear understanding of the underlying business decisions. This isn’t necessarily a negative critique; it’s an encouragement for armchair anime producers to pursue their creative ideas, even if their knowledge is limited.
The comparison between Guilty Crown and Code Geass likely stems from the producers’ intention to attract a similar audience for both series. Given that Code Geass had a significant female viewership, it’s reasonable to assume that Guilty Crown aimed for a broader appeal than, perhaps, a show like Trapeze. My only critique might be directed at the fact that noitaminA operates within the challenging 2 AM time slot.
To challenge the notion that shows like this don’t appeal to girls (especially if one considers the limited public admission of Guilty Crown fans), consider the viewership of K-ON!! in Japan. Approximately 35% of its viewers are female. Does K-ON!! pander to otaku? Yes, but it also accomplishes much more. I would be surprised by anyone who dismisses it as merely a “moeblob” show. The fact that many did highlights the difficulty in accurately guessing audience demographics without the proper context. Similarly, for the noitaminA discussion, it’s noteworthy that over 30% of viewers for Kuroshitsuji II are male. It’s also plausible that more girls read Shonen Jump, a magazine ostensibly aimed at boys.
Perhaps K-ON!! offers a key to understanding this phenomenon, or at least a starting point. While noitaminA might be recognized for series like Antique Bakery or House of Five Leaves (singling out a creator whose work I personally dislike), the financial viability of such projects is questionable. The question remains: who is responsible for this situation?
Upon reading the full interview with Koji Yamamoto, Ryo Ohyama, and George Wada, their strategic approach becomes clear. They appear to be following a well-defined formula. It’s perplexing why this strategy isn’t more widely understood, as it’s hardly uncharted territory. This situation can be easily categorized as another instance of “catering to someone else’s tastes equals pandering,” a common tactic employed by some otaku bloggers. However, it’s a rather simplistic viewpoint.
It is strongly advised to avoid the ANN forum thread discussing this topic, as it is even less insightful. The comparison to Transformers 3, a commercially successful and popular film that received widespread critical panning, might not be entirely inaccurate. In that context, would one consider it a mission accomplished?
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