Localizing anime
The story behind anime localization
Les and Mary Claypool
For the past 10 years I’ve been guesting at anime conventions across the United States. Each one is unique. On the coasts they tend to be larger and older than cons in middle America, with massive crowds and decades of history. But they’ve each become more diverse. Most today report a near 50-50 gender mix, with attendees spanning racial and ethnic spectra.
What’s frustrating, though, is that I hardly ever get to talk with anyone. (I talk to them, of course. That’s my job. But sustained conversations are rare.)
Once the crowds show up, cons are dizzying. Your liaison escorts you to the venue, navigating through clumps of cosplayers. The fans pour in, get their book signed, mutter their thanks and maybe share an anecdote about their favorite show, a trip to Tokyo, or a story you wrote that they read. It’s nice, but brief.
Unfortunately, the same goes with other guests, many of whom are professionals I’m eager to meet. A quick hello in the green room, an exchange of pleasantries at the breakfast buffet. Hello, good to see/meet you, goodbye.
Mitch Iverson (photo: Sean Yates)
I’ve come to appreciate being asked to moderate panels on top of hosting my own presentations. I’ve moderated silly ones (AKB48 in New York stands out), others with rising stars who have now risen (Makoto Shinkai) and some with industry staff who really know their stuff: the sausage-makers working the factory floor.
At Anime Los Angeles last month in Ontario, California, I was lucky enough to be hosting a panel with writing, dubbing and adaptation/localization experts Les and Mary Claypool and Mitch Iverson.
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