UlasanAnime.com – The concept of “Cool Japan” is examined as a government economic policy aimed at revitalizing specific industry sectors. This initiative aligns with broader economic debates in post-bubble Japan concerning government spending and tax cuts to stimulate the economy.
The author notes that what constitutes “cool” in Japan is subjective and varies from person to person. However, the profitability of Japanese pop culture products, which is objective and quantifiable, doesn’t necessarily correlate with this subjective notion of “cool.”
The article suggests that “Cool Japan” might be a misnomer, perhaps better described as “We-used-to-make-money-selling-cartoon-characters Japan.” The author points to Pokémon as a prime example of a product that was both profitable and culturally significant, even leading to extreme reactions like children being hospitalized due to its intensity.
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While critically acclaimed works like Akira, Ghost in the Shell, and Ninja Scroll are mentioned, they are characterized as relatively minor contributors to Japan’s overall export revenue compared to massive successes like Pokémon. The author references data, such as from METI, indicating that the bulk of revenue from “character goods” likely comes from franchises like Pokémon and potentially Yu-Gi-Oh!.
The author expresses a critique of a particular article (presumably by Daryl Surat, based on the Storify link) for its perceived lack of data and an overemphasis on the US market. A significant omission highlighted is the absence of any mention of Pokémon, despite its colossal impact on Japanese exports and the “Cool Japan” narrative in the US. The article also notes the prominence of Power Rangers as a significant Japanese export in the 90s, which was also not thoroughly discussed in the context of early “Cool Japan” literature.
The core argument presented is that “Cool Japan” might be a manufactured narrative or a fabricated story used to promote certain interests amidst government capital spending trends. The author acknowledges the difficulty in disproving this, as there’s no concrete evidence to refute the immense profitability of franchises like Pokémon or the business dealings of companies like Konami.
The article posits that the true essence of “Cool Japan” lies in its broader cultural exports, including fashion, sushi, and particularly video games. The enduring cultural cachet of titles like Final Fantasy VII is presented as significantly larger than that of anime like Cowboy Bebop.
The author supports the idea of criticizing “Cool Japan” due to the potential for misallocation of taxpayer money into industries that may not utilize it effectively. As an export-oriented initiative, it raises questions about whether it truly serves the public benefit, especially given the complexities of Japanese politics.
However, the article also acknowledges that this funding has supported creative projects like Little Witch Academia and Death Billiards. Therefore, as beneficiaries of “Cool Japan,” it might be presumptuous to offer outright criticism.
Despite this, the author maintains that criticism is still valid until certain issues are resolved. The article touches upon the “face” aspect of these initiatives and wonders if this is a consideration for figures like Koike.
PS. A link to Roland Kelts’ perspective on “Cool Japan 2013” is provided for further discussion.
PPS. Hello Kitty is cited as another compelling success story related to Japanese cultural exports.
PPPS. The post is humorously attributed to XKCD.
