UlasanAnime.com – This article delves into the nuanced definition and current state of “anime news” coverage, questioning what truly constitutes news within the anime community and how it is presented to audiences.
The author begins by reflecting on the everyday decisions involved in covering the news, specifically for anime. The term “anime” is clarified to encompass a broader scope of “modern visual culture,” akin to how shows like Genshiken are more about lifestyle and perspective than just their constituent media like games, manga, or anime itself. While “culture” seems appropriate, it may not be the most intuitive term.
The piece then addresses the common understanding of “anime news,” suggesting that sites like Anime News Network (ANN) often engage in what the author terms “trivial game” coverage. This approach is contrasted with the broader cultural coverage seen elsewhere, including ANN’s “interests” posts and significant portions of Sankaku Complex, with the latter also being noted for its explicit content. Kotaku East is mentioned as an example of content already falling within this similar target demographic.
Recalling the author’s start at Japanator in 2008, there was a desire for a Gawker-style blog covering anime news. In those days, 2ch coverage blogs were a primary source of information, and their absence would have drastically reduced online “anime” news by approximately 75%. However, the landscape has shifted by 2012, where the time lag between an event appearing on 2ch and its subsequent reporting by ANN and numerous reposting blogs is now considered trivial. Major news breaks even faster on platforms like Twitter, with blogs merely providing extended text space.
A key question is posed to the audience: do they genuinely care about “anime news,” do they read it, and if so, why? The author speculates that people consume news in various modes, and coverage should ideally cater to these different consumption patterns. Even content that provides amusement or “LULZ” can still be informative if presented with the “right spin.” The author identifies this lack of proper spin as a major issue in general “anime news” coverage, suggesting it’s a reason why sites like Artefact attract readers.
The “right spin” is explained as presenting information in a way that reveals its deeper implications, without becoming a laughingstock. The author notes that it’s challenging to achieve this, especially when facing potential criticism. ANN, in particular, is seen as too entangled with corporate interests to significantly challenge the status quo, a consequence of hiring full-time writers. The business of anime media in English is described as having limited profitability, often requiring operations akin to advertising agencies, social networks, or even piracy sites.
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While acknowledging that this situation isn’t inherently wrong and that English-language coverage of anime, games, and manga is generally poor and could benefit from advertising, it creates limitations for genuine news coverage. This means avoiding alienating key entities like Funimation or sponsored conventions.
The author expresses personal fatigue with the current state of affairs, though acknowledging an improvement over the years in primary news sites’ ability to elevate content beyond simple ads disguised as news. The inevitability of some advertising influence in “anime news” is accepted, but a sense of apathy prevails, with a lack of apparent concern from anyone to address these issues.
What the author desires to see more of is original coverage, particularly from American and Western perspectives, rather than relying solely on sources like 2ch. The example of MyAnimeList (MAL) being covered by American sites is given. The core problem with English-language “anime news” coverage is identified as a lack of shamelessness in digging for information everywhere. Those who are shameless often lack the interest or capability (e.g., due to the nature of adult content). The ideal scenario involves curating existing information and repackaging it as “news,” presenting a lifestyle that informs and edifies readers while also highlighting the realities beyond the daily grind of poorly paid online bloggers.
Ultimately, the author concludes that having the “right narrative” is paramount.
This discussion, it is noted, does not extend to features and editorials, which fall under a different category of content creation.
