UlasanAnime.com – This blog post serves as an intermediate analysis, assuming familiarity with the first four episodes of Girlish Number and the intricacies of the seiyuu/anime business. Spoilers are present.
A gap analysis is a method used to determine what is missing by detailing current processes or concepts. For instance, if one were to plan attendance at Animelo Summer Live 2017, a gap analysis might reveal the necessity of a passport for travel to Japan and the subsequent information required for flight reservations, all preceding the actual event.
This analytical approach can shed light on the rise to prominence of individuals like Taketatsu Ayana. Her popularity, evidenced by her role as a spokesperson for the renowned gyudon chain, Yoshinoya, prompts the question of how a young seiyuu and music artist achieves such success. While Ayachi is used here as a mere example due to her fame, an outsider to the seiyuu idol scene might struggle to comprehend her career trajectory.
For those with keen observation skills or industry experience, the seiyuu-idol industry is fundamentally driven by fan purchases of merchandise associated with these otaku celebrities. The complexity arises from the dual perspective of seiyuu and their agencies: they are performers and artists hired for specific roles. Similar to actors in film or television, their compensation is primarily for their involvement in a project, not necessarily from direct fan purchases of the media. For example, Emilia Clarke’s earnings from Game of Thrones Blu-ray sales don’t directly stem from individual purchases but from HBO’s production budget. However, if Clarke were to launch her own perfume line, her fame would directly generate income. The anime industry adds another layer of complexity, as production committees acquire IPs like manga or light novels, with the funding for production often disconnected from the animation team and potentially from those who ultimately profit from the work. Production companies and staff, including seiyuu, are typically compensated based on contractual work. Publishers monetize IPs through licensing and sales, often using anime as a promotional tool for the original work. Fans, however, do not typically follow this financial chain.
It is in this context that Girlish Number appears to function as a gap analysis. Before the merchandise and fan engagement can occur, seiyuu must first achieve popularity. This often stems from their involvement in significant or groundbreaking projects, coupled with a drive for recognition. A crucial element is the management aspect, requiring suitable producers and willing, albeit sometimes unaware, talent. Essentially, it involves crafting a business case.
From a fan’s perspective, the focus is on the marketed and enjoyed products: CDs, gravure photos, concerts, variety shows, radio programs, or new ways to engage with seasonal anime. Fan clubs and fandom activities also play a role, often in combination. The crucial question, however, is how this ecosystem develops from its origins. What is the foundational element, the unique value proposition?
Consider a practical exercise: how does one transform a cow into a business? The unique value proposition of a cow depends on the intended outcome. If the business revolves around milk production, the cow’s value lies in its milk, which is sold to a cheese factory. This requires investment in the cow’s upkeep, ensuring its health and productivity. Costs are incurred for milking, processing, and delivery, along with the expenses related to staffing and human resources.
Imagine leveraging the same upkeep costs for a milk cow to simultaneously breed calves. These calves can then be sold as a secondary product to other farmers, creating a new revenue stream. While raising calves and assisting with births incurs additional costs, the existing infrastructure for supporting one cow can largely accommodate these new ventures. The marginal cost of supporting a few calves is likely minimal compared to the derived value. In essence, this exercise illustrates that the seiyuu idol industry is about maximizing the output from a talent.
Instead of a cow, we have a seiyuu who has lent her voice to numerous anime. While she may not possess conventional beauty, with sufficient enhancement, she can achieve a visually appealing image. However, as seiyuu primarily present themselves through their voices, their visual appeal is often secondary. An ambitious producer can amplify a seiyuu’s value proposition by suggesting activities like gravure shoots. Even before such ventures, seiyuu in popular anime, particularly those appealing to younger audiences, cultivate dedicated fan bases. While their faces may not be visible in the anime itself, their names are recognized, and their performances are appreciated. Given the demographic of many anime, a gravure magazine becomes a logical extension, offering sophisticated photography alongside interviews and insights into the seiyuu profession, rather than a universally appealing product.
This approach has been prevalent for decades. Over time, the value proposition of seiyuu has been enhanced through the addition of various activities. The phrase “Sore ga seiyuu” (That’s seiyuu) often comes to mind when discovering the diverse range of activities these voice talents undertake, some of which can be perplexing. For instance, this season, seiyuu might participate in a butt-bumping game to promote Keijo, an activity permissible because such endeavors elevate the entertainers’ profiles.
Following this value proposition allows fans to express desires like “It’s about time Nunu did a solo debut.” It is also crucial to observe the “dairy farmer” in this equation – the talent agency, record label, and publishers – as they all have distinct yet overlapping stakes. Where their interests align, such as increased public exposure as depicted in Girlish Number Episode 4, resistance is minimal, barring ethical objections from purists. Conversely, where interests diverge, it can lead to exploitation.
Girlish Number delves directly into this value proposition inherent in the modern idol-seiyuu phenomenon. Chii-sama, initially unknown, quickly grasps this multifaceted value proposition due to her enjoyment of celebrity status. However, beneath the surface of fame and fortune in the seiyuu world lie luck and hard work. In this regard, Chii-sama has already secured half of the equation by being fortunate enough to be the protagonist. The remaining aspect involves looping back to the original value proposition, or how Chii-sama can regain her “cow-ness.”
This perspective suggests that Girlish Number presents a cynical and unfortunate portrayal. If the industry had operated this way from its inception, it might not have flourished to its current extent. The involvement of investors in seiyuu fandom projects signals a potential shift. Ultimately, producers bear significant responsibility, and the resulting situation involves various parties striving to make the best of it. This includes fans who have endured less than stellar anime and are seeking solace, even if it’s in the emergence of a new seiyuu.
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Note 1: This note encompasses the entire paragraph and refers to the “cow-ness” mentioned in the text accompanying note 2.
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Note 2: Refer to the preceding note. The true significance of her being a newcomer is critical. While likely overlooked by many, this forms the crux of the matter, and Girlish Number attempts to address it. It is not solely because Chiisama lacks talent, nor is it entirely due to her not grasping the value proposition. It is primarily because that value has not yet been established for a newcomer.
