How can we tell if an anime is doing well? It’s a more complex question that it sounds. Anime usually has multiple revenue streams, and none of those revenue streams are accurately reported. A given anime might make money from the TV broadcast, DVD/BD sales, and merchandise, not to mention international licensing.
Much has been said about the poor working conditions and low pay for animators at some of the major studios in the industry, and many conscientious anime fans want to do what they can to help remedy that situation. As a result, when people talk about “supporting the anime industry,” they’re usually taking about financially
I ran my college’s anime club for the better part of 4 years. During my administration, the anime club grew into the biggest club on campus, and one of the most successful and well-liked by the faculty, staff, and administration.
In part 1, we learned about how the idealism of early tape-traders caused the business aspect of the Western anime market to diverge from the fanbase, and how that paradigm seeks to usher in an era of aggressive localization in an attempt to grow the Western anime market.
Localization and its cousin, censorship, are contentious issues within the anime community. In many ways, the subculture is still smarting from the hackjob localizations of the past, which were often poorly translated, poorly dubbed, had content cut for the Western release, or some combination of the three.
(Cross-post from Iyashikei) Characters in fiction tend to represent ideas. Writers use their characters as a manifestation of different concepts. For example, the typical “hero” in fiction is often a combination of several different traits that people tend to see as “heroic.”
(Cross-post from Iyashikei) People respect people who stick to their guns.
If you’ve seen Otaku no Video, you know this story.