Basically, it proved the tautology that non-anime-watchers watch want anime. The results have been depressing ratings and even more depressing video sales. In Japan many manga audiences aren't anime fans, and the block went to genres, specially josei, that don't generally attract anime adaptations and whose readers don't generally watch anime. It's featured adaptations of classic Noh horror, a literary psychological comedy and dramatic novels. ![]() Since 2005, Fuji TV has been trying that with its late night noitaminA block, which is anime programmed for audiences who aren't typically anime watchers. So, say you want to cheat on the otaku spouse and win the adoration of the whole neighbor. I'd recommend it to anime fans, but it's so tied to Akihabara culture and otaku types that, while I think non-anime fans would get it, they'd also be turned off by its by-otaku-for-otaku mannerisms. It's a fun pseudo-science time travel puzzle that's fairly well constructed, especially in regard to introducing a cast of characters, then only using that specific set to affect the story. Take the recently popular Steins gate for example. If something is well made, I'll suggest it to lapsed anime viewers, but since even many fairly solid works carry otaku audience baggage it's become a subculture as much as a medium. ![]() There are few works that I'd push on people who wouldn't identify themselves as anime watchers. The consequence it that most anime isn't enticing to non-anime fans. A part from exceptional productions, a lot of anime doesn't even bother attempting to woo audiences beyond those dedicated ones. Focused on that, there isn't the opportunity to avoid qualities that will be turn-offs to other audiences. You have an audience prone to hanging onto some favorites, prone to abandoning once hot for the new sensation and prone to the occasional berserk reaction. Not say that it's an easily maintained marriage. With input from the sponsors, it fine tunes itself to the tastes of a dedicated crowd, who will buy the unedited Blu-rays, the character goods and so on. So, with anime and otaku, you get a marriage of consumers and the industry producing their 2D paramours. In a tough economy it has focused on the safer targets. Yeah, "Manga Man Says Parental Discression Advised," because anime is "not for kids." By in large, it's for kids and otaku.īack since Osamu Tezuka inked his Astro Boy TV deal, back since it was Toei making movies, anime has been a tough business. Unpopular: known and broadly unliked, or, in more sympathetic circles, at least not sufficiently liked that is deemed worthy of time and attention. Even its producers have suggested that it's something more along the lines of a last hurrah than it is a vanguard.Īnime's gotten more than a bit unpopular. In regards to what it means for anime, Redline feels apocalyptic. Look at Astro Boy and Cyborg 009 and how their heroes flew and fell towards oblivion. Look at Akira, created during a boom, imagining a gig-bust. However, though the movie itself is positively exhilarating, if there is one thing anime is good for, it's engendering and dealing with apocalyptic feelings. I'm not going to say it's not hyperbole, but there is also a whole lot of truth when the makers of Redline call the movie "once in a life time" and "the ultimate anime film one that defies all logic." This should be a fire cracker under the posterior of anime. ![]() "Very Sweet Weaponless Prince" JP is going to take his souped up classic Trans Am and outrace the infamous rogues, sorceresses, gods and legends validating his comrade’s sacrifice and winning the girl. a guy with a leather jacket, ridiculous pompadour and switch blade comb, is going to scrawl his name across that space. The catena of odd, alien shapes writ large across the expanse of stars. The universe is a weird, wonderful place. ![]() Released By Manga/Anchor Boy on January 17th 2012
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