japanamerica

It would be hyperbolic to call 2020 a great year for anime. But it ended better than it began . Last April, the Japanese government’s first declaration of a state of emergency raised the specter of 2011, when the Great East Japan Earthquake, tsunami and nuclear meltdown stopped anime studios cold, forcing many to consolidate for survival and some to close for good. The triple disasters of nine years ago disrupted the industry for at least a month and took three or more to overcome. “We almost went under in 2011,” said Joseph Chou, the CEO of computer animation studio Sola Digital Arts, when I spoke to him in early May. Work had just been abruptly suspended on major shows such as “Pokemon,” “Doraemon” and “One Piece,” and his own staff were struggling to make progress on their forthcoming series, “Blade Runner: Black Lotus,” due out in spring 2021. Chou compared interrupting the production process to halting a speeding train: “You can’t go from 100 miles per hour to zero and then ex...

Three years ago, I asked Kun Gao, a co-founder and former CEO of anime site Crunchyroll, whether he thought the medium on which his company relied would ever go mainstream. We were sitting in what were then Crunchyroll’s headquarters on the seventh floor of the sprawling Westfield Mall building in San Francisco — a space once occupied by Microsoft. He smiled. “It’s still niche,” he said. “But it’s a pretty big niche.” Last week, Sony took a big bite into that niche by purchasing Crunchyroll from American telecoms giant AT&T’s WarnerMedia for a cool $1.2 billion. The deal puts the company Gao co-founded 14 years ago with five other computer engineering grads (and self-professed “nerds”) from the University of California, Berkeley, at the very center of Sony’s push to become a direct-to-consumer player, joining the fray with behemoths Netflix, Amazon, and Disney. Entertainment, and anime in particular, will be its cornerstone. To industry observers, Sony’s purchase, while likely over...

Honored to be appearing at this year's Virtual Crunchyroll Expo 2020 with my friend Arthell Isom, anime director, background artist and co-founder/CEO of D'ART Shtajio , Japan's first black-owned anime studio.  We'll be talking about Anime and Race  — a timely topic, and one that is rarely addressed.   

U.S. anime market matures in 2019 The Japan Times The third annual Animation Is Film Festival kicked off on Oct. 18 in Los Angeles with the United States premiere of Makoto Shinkai’s latest Japan box-office hit, “Weathering With You,” followed by an onstage Q&A with Shinkai, who flew in from Tokyo for the event. Demand for tickets was so fierce that organizers added a second overflow screening at the city’s historic TCL Chinese Theater on Hollywood Boulevard. According to festival founder Eric Beckman, CEO of U.S. distributor GKIDS, tickets to the second screening sold out in “less than three minutes.” WEATHERING WITH YOU, image courtesy of GKIDS /  ©2019 “Weathering With You” Film Partners Six years after the global anime industry was jolted by the retirement of its most loved and bankable artist, Studio Ghibli director Hayao Miyazaki, developments in the North American market are transforming 2019 into a banner year. Through consolidation, the flowerin...

Writer, scholar, editor and cultural critic Roland Kelts  is the author of the critically acclaimed and bestselling book, JAPANAMERICA: HOW JAPANESE POP CULTURE HAS INVADED THE U.S. His writing is published in the US, Europe and Japan in The New Yorker, The Guardian, The Wall Street Journal, The New York Times, Time Magazine, Harper’s Magazine, The Japan Times and many others. He contributes commentary on Japan to CNN, the BBC, NPR and Japan’s NHK, and gives talks at venues worldwide, including The World Economic Forum, TED Talks, Harvard University, the University of California, the University of Tokyo, the Singapore Writers Festival and several anime conventions across the United States. He has interviewed several notable Japanese artists, including Hayao Miyazaki and Haruki Murakami, and is considered an authority on Japanese culture and media. Kelts has won a Jacob K. Javits Fellowship Award in Writing at Columbia University and a Nieman Fellowship in Journalism at...

Netflix is animated about anime Roland Kelts Taito Okiura Netflix’s director of anime, Taito Okiura, tells me he feels like a local baseball player who got drafted into the U.S. Major Leagues. Except, he doesn’t play the sport. A producer and entrepreneur with over a decade of experience in the industry, Okiura was offered the job twice by Netflix before joining last October. He was unavailable three years ago when first tapped by the company to help open its Japan branch. In 2016, he took a conference call with the talent acquisitions department from corporate headquarters in Los Angeles. “I told them I wasn’t sure how serious Netflix really is about anime. Then I hung up the phone,” he says. (© BONES / PROJECT A.I.C.O.; © KAZUTO NAKAZAWA / PRODUCTION I.G) But Netflix knew how passionate Okiura was about anime. In 2007, he was a key producer on the then-groundbreaking transcultural project, “Afro Samurai,” written and illustrated by Takashi Okazaki, a...

Director Sunao Katabuchi shares his corner of the world

At last, Japan gets it by Roland Kelts The Japanese entertainment industry is finally growing up, says Shin Unozawa, and he should know. Unozawa joined Bandai Entertainment back in 1981, and serves as chair of the Computer Entertainment Supplier’s Association (CESA), co-hosts of the Tokyo Game Show. Now he is CEO of the recently formed Anime Consortium Japan (ACJ) — a multipartner corporation launched last November, with the goal of localizing and consolidating the digital streaming of official Japanese content. The ACJ’s lineup is top shelf: Production and advertising giants Toei, Sunrise, TMS, Aniplex, Asatsu-DK, Nihon Ad Systems and Dentsu have teamed up with major shareholders Bandai Namco Holdings and the government-sponsored Cool Japan Fund. Their primary aim is to tackle piracy and develop the first Japan-centered streaming entertainment and e-commerce platform called Daisuki. It’s as impressive as it is long overdue.