UlasanAnime.com – The author reflects on the evolving discourse within fandoms, noting that while fans naturally seek understanding and engagement with their consumed content, the ideal scenario involves a multiplicity of discussions. This diversity, the author argues, allows for a richer and more nuanced fan experience, preventing a single, monolithic perspective from dominating.
The concept of “fandom ghettos” is introduced, described as unorganized masses of people guided by their existing training. While this organic evolution is deemed acceptable, the author believes significant improvements are possible with dedicated resources, attention, and collective will. The core idea is that fostering more diverse discussions leads to greater sophistication within the fandom.
Leading by example is highlighted as a powerful method for elevating discourse. The author points to the Sakugabooru community as a prime example of how a dedicated group can foster sophisticated discussions around a specific aspect of anime. Anime news is also mentioned, though it’s characterized as often being a one-way communication, making its complexity harder for outsiders to grasp.
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The term “ghetto” is used deliberately to underscore the low maintenance cost of these spaces, akin to communities without gates. The author emphasizes that every stage of a fan’s journey, from initial interests to more mature engagement, deserves respect and attention to facilitate growth. The initial stages are particularly crucial for fostering long-term participation.
Furthermore, the term “ghetto” is employed to draw attention to the inequalities and discrimination that can exist within fan spaces, often linked to perceived status and wealth. While mass media and social media have democratized access to popular content, discriminatory attitudes persist from both higher and lower social strata.
The discussion then pivots to specific instances: Anime Tube, Anime News Network’s (ANN) coverage, and related meta-commentary. The author presents a numbered list of observations and arguments:
- Professional media and journalism in the anime space operate with clear objectives. The author admires sites that expose industry predators, acknowledging the risks involved, particularly for women facing online harassment. However, the author suggests that the anime community can and should do better. With a vast global fanbase, the scarcity of English-language anime news sites is noted. There’s a call for more individuals with the right skills and experience to join the media and press to effectively cover issues within the industry.
- Social media has absorbed much of the traditional media’s role in the anime sphere. This situation, the author argues, creates an even greater need for authoritative information sources to collaborate informally. The challenge lies in crafting narratives, which is difficult when only a few major English news sites delve deeply into the “scene.” The presence of clickbait-driven sites exacerbates this issue. The author observes that YouTubers are filling this void, a trend seen across various fan and non-fan communities.
- The principle of “if you build it, they will come” is acknowledged, but the author laments that past attempts at creating such platforms have faltered despite good intentions. The author shares personal experience writing for a similar site that ultimately struggled.
- The survival of entities like Anime Tube, operating in vacuums where realistic business practices were absent, is discussed. The author posits that such operations are likely to fail once exposed to scrutiny. While anime consumption will continue, the author suggests it might be beneficial for content to be integrated with the broader industry apparatus, such as toy sales and creator collaborations.
Fans are encouraged to take responsibility, and the author acknowledges that some have done so, partly due to the existence of sites like ANN. However, the author contends that the anime industry, particularly in Japan, is not adequately supporting these efforts. This is attributed to various factors, including marketing budget limitations, the gap between Western and Japanese publishers, a general lack of sophistication in business practices (drawing a parallel to the MPAA/RIAA’s later adoption of industry-wide strategies), and Japan’s unique cultural approach to business (the “Galapagos syndrome”).
The author argues that it is unfair to expect fans to bridge the gap. As paying customers, the industry should make greater efforts. The author expresses gratitude for Crunchyroll’s role in connecting consumers with the “source” and notes that Crunchyroll also runs a news site, often publishing PR disguised as articles. The author highlights the critical need for PR to be available in English, let alone actual reporting, as a significant amount of news is lost due to language barriers.
Finally, the author suggests that a substantial investment, perhaps $10 million over three to four years, from a company like Netflix into an anime news and community site could significantly benefit the sector. Such an investment, the author believes, would yield positive results. The author also points to Bandai Namco’s work with Gundam and gunpla as a potential model for series integration. The overarching sentiment is that a comprehensive approach, rather than just focusing on the anime itself, is what makes sense, potentially necessitating more “slumlords” (entities that manage and develop these spaces).
