If you’re not at least a little bit chuunibyou about what you’re doing, I don’t know how you’re gonna make it.
In this post, I’ll be ranking common ways to “support the anime industry” from least helpful to most helpful, from the perspective of a Western anime fan.
I’m trying to make a point here.
In the coming years, brands that appeal to otaku will have a significant advantage over ones that don’t. This will not be limited to Japan. It will be worldwide, but especially in the United States.
We’ve already seen this happen.
Mecha is dead, according to anime Youtube influencers who don’t watch mecha anime. Gundam and Macross certainly exist, but they’re decades old. Code Geass is nearly fifteen years old. Full Metal Panic nearing twenty.
2020’s Keep Your Hands Off Eizouken!, in addition to being a smart commentary on the Japanese animation industry as a whole, provides an excellent (albeit fictional) case study of a classic business dynamic.
Western otaku are failing fundamentally at one of our core responsibilities. We have a responsibility to take ownership of our subculture. Instead, we’ve consistently relied on outsiders to serve otaku culture fairly.
Uma Musume is back. Following a nearly three year delay after the anime, the Uma Musume game is out. With it, the fanart has returned, along with a contentious policy.
At the tail end of 2020, Sony set out to purchase Crunchyroll.
AT&T, Crunchyroll’s owners, wanted to shed debt, and Sony wants to dominate the anime space. It’s a match made in business heaven.
The US government, however, has some questions.
Lonelier (or just hornier) fans might be familiar with Tenga. The infamous sex toy company has become ubiquitous in the culture. No doubt their marketing is a big reason why.