To tie in with the world-wide media extravaganza that is the release of the final volume of the megaselling Harry Potter series, today I would like present scans from three lesser known sequels in my collection.
First is the China exclusive 2002 release, Harry Potter and the Filler of Big, a title made only slightly less mysterious when one realizes that the Chinese title translates rather more accurately into Harry Potter and the Big Funnel, although you’ll need someone with better Chinese than mine to describe the plot of this gloriously audacious illegally published novel-length fanfiction.
English-only Ghibli fans might be interested to know how people are reacting to the recently announced new Ghibli film “Ponyo of the Cliff top”. J-Cast has the story:
Hayao Miyazaki to Re-educate Son with New Film
Mar. 20
Director Hayao Miyazaki’s latest project, “Ponyo of the Cliff Top” was announced yesterday for a summer 2008 release. The main character, a 5-year-old boy named “Sosuke” was modeled after Miyazaki’s son Goro. Goro directed the Ghibli project “Tales of Earthsea” in 2006, and while the film was a major hit, many slammed how the film turned out. As a result, Hayao is attempting to re-educate his eldest son, and has included a message in the film of how he wants his eldest to turn out. Or at least that’s what everyone is saying.
The 5-year-old Lead Resembles Hayao’s Son
This will be the first film from Hayao Miyazaki ever since Howl’s Moving Castle achieved huge box office totals of 19.6 billion yen when it was released 4 years ago (November 2004). The new film is a story of Ponyo, a goldfish princess who wants to become human, and the five-year-old Sosuke. Producer Toshio Suzuki explains, “This is kind of like Miyazaki’s version of ‘The Little Mermaid.’” Tales of Earthsea, which came out last year, was supposed to have been directed by Hayao himself—he negotiated the film rights with the original author 20 years ago—but the director changed to his eldest son, Goro (pictured). As J-Cast reported earlier:
“Ghibli’s Suzuki said in an interview ‘(Hayao) said that “it would be inconceivable for Goro to take the helm.” In other words, he was totally against Goro directing it.’”
Afterward, Suzuki convinced Hayao to go along, but while the production ended up being a hit, the movie received less than favorable reviews from viewers and the original author.
The father-son feud was reported as follows in a March 20, 2007 article in Sports Nippon:
“Sosuke was modeled after Goro Miyazaki, Hayao’s 40-year-old eldest son. Goro made his directorial debut with Tales of Earthsea last year, and Hayao interpreted his son’s actions as a rebellion against his father, reportedly expressing remorse: “Things turned out this way because I was working all the time and didn’t spend time with Goro when he was 5 years old. [I’m making this] so there won’t be any more children like Goro.”
It looks like this will be a film about regrets over raising an eldest son.
“Thank goodness it’s Hayao!”
Since Hayao Miyazaki has made several statements indicating he’s retiring from directing, rumors had been circulating on the Internet wondering if there would be another Hayao-directed film. Perhaps influenced by such concerns, there are lots of blog entries from Yahoo, Livedoor, and Excite-hosted blogs placing their hopes in Hayao:
“Thank goodness it’s Hayao But it looks like the kid is modeled after Goro…”
“Yes YES! I LOOOOOOOVEEEE Miyazaki’s movies!! Goro’s movie was just so poorly received I still haven’t watched it [Translator: Same here!], but I wonder how Earthsea turned out? Hayao’s movies almost never fail to please, so I am simply looking forward to it.”
“I am looking forward to this. Since this is coming after Goro Miyazaki seems to have misjudged the public, I am interested to see how people react to this one.”
Will this new film feature the father’s overwhelming dignity and serve to re-educate Goro?
Comment: This looks like a continuation of the human drama initiated and encouraged by Ghibli (who printed Goro’s blog that detailed the feud and an interview with Suzuki that explained more about it) since it was learned that Earthsea would be directed by the inexperienced Goro. Since, as J-Cast notes, Earthsea ended up being a hit despite bad reviews, perhaps the promoters and investors (which include notorious hit-generators Hakuhodo and Dentsu) see this reality-show spectacle as an effective way to generate hype. The personal stories probably resonate with fans of Studio Ghibli, which was voted Japan’s top-ranking brand name in a 2006 poll of consumers conducted by Nikkei BP:
Miyazaki magic
Studio Ghibli stepped up from second place in the 2005 survey, receiving fairly high marks in two of the four categories the survey conductors determined to be key factors in creating brand power. The two categories were friendly and outstanding.
The animation studio has spawned an array of popular films, such as “Howl’s Moving Castle”, released in 2004, successfully connecting with consumers on an emotional basis.
Resonating with consumers is the ultimate goal of corporate marketing.
Jiji Press reports that Hayao Miyazaki announced that he is directing a new long-form animated film called “Ponyo on the Cliffs” (崖の上のポニョ), a story of a boy’s friendship with a “goldfish princess” who wants to become human.
The production, the first directed by Hayao Miyazaki since 2003’s Howl’s Moving Castle, began last October and will be completely hand-drawn, with no computers used whatsoever. The animation style is simple and childlike (see picture). The scenery is based on the Seto Inland Sea, an area of Japan where Miyazaki stayed in 2005. The 5-year-old hero is based on his son Goro, who directed the poorly-received Earthsea adaptation. The music will be done by Ghibli regular Jo Hisaishi. The final production is scheduled to be released in summer 2008.
An official press release confirms the recent reports and promises more information moving forward.
Animation Produced in Small Teams is a Breath of Fresh Air for the Industry: FROGMAN Co., Others Showcase A Powerful Individuality
March 13, 2007
Animation produced in small teams have been hitting the market one after the other recently, which is a new development as works are usually produced in production teams of dozens or even hundreds of people. The new works, which maintain a high level of quality while showcasing the creators’ intense vision in every nook and cranny, a feat that can only be achieved in a small team, are blowing a new wind throughout Japan’s animation industry. (by Ryuichi Taniguchi)
Improved Performance of PCs Plays a Role
Makoto Shinkai, director of “Five Centimeters Per Second” (秒速５センチメートル) gave thanks before the 200 people who had gathered to watch his animated film shown at Cinema Rise in Tokyo’s Shibuya Ward on March 3: “I am happy to show a film that I made the way I wanted it in a large space.” This was his first film since his long-form “Beyond the Clouds, at the Promised Location” (雲のむこう、約束の場所) was shown at the same theater in November 2006. He seemed to have felt a positive response from the excited crowd of waiting fans that filled the seats.
In the past, animation production was assumed to require a large staff, but Shinkai released his first 25-minute short “Voices of the Stars” (ほしのこえ) created almost entirely by himself on a PC. The imagery, which measures up to animation made by pros, and the story, about susceptible young men and women, made the piece a hit with the younger generation and gained its creator recognition as a member of the new generation of animation directors.
However, Shinkai did not choose the path of producing his work in a major studio with a large staff at his beck and call. He continued using PCs and producing his films with a small staff to complete his “Beyond” and the more recent “Five”.
Shinkai explains, “For a year and half, I had the animation staff come to my home, and created it at a steady pace using my desktop. He didn’t create the whole thing by himself as in “Voice of the Stars,” but he made drastic staff cuts compared to the number of people involved in “Beyond.” As a result, Shinkai was able to realize a film in which his vision crept into every nook and cranny, from depictions of the lyrical countryside, to the village landscapes, to the endless sky and ocean.
Productions that can make full use of the creator’s individuality because of such a small staff are made possible by high-performance PCs that can be used to draw, color, and even edit finely detailed images. It’s easy to see how individual creators like Shinkai can make it into the animation industry if they have talent and backup in terms of funding.
Product Placement Comes to Anime
The films produced by FROGMAN Co, led by a man who goes by the same name, were also born of superior talent, a PC, and the Internet. The company creates animation using Flash, an animation software that can play simple video on a PC, and began offering programs on the Internet starting in 2004. These short films gained an following, and in April 2006 FROGMAN’s “Falcon’s Claw, Secret Society” (秘密結社鷹の爪) debuted on TV Asahi.
On March 17, “Falcon’s Claw, Secret Society The Movie: The Fuhrer Dies Twice” (総統は二度死ぬ) opens in theaters. FROGMAN spoke at a sneak preview held in Roppongi on March 4: “I’m so happy because cinema is the apex of film.” Just as in the TV version, FROGMAN does almost all the voices himself and drew most of the animation. He was overjoyed to see his brainchild up on the big screen.
The big-screen version of course cost more, but the costs were covered by including product placement within the film. Since it’s a comedy, the film blatantly displays company logos and products to make the crowd laugh. They even included a “budget gauge” on the side of the screen that dips during the more elaborate CGI scenes as a gag for the audience.
Another Internet-based talent is Rareko. She published her work on the Internet and eventually worked into picture books and DVDs after they became popular. As more and more companies seek out dormant talent, it looks as though we’ll keep seeing unique, individual animation.
The Companies Backing up Individual Talent
Individuals’ talents can only blossom fully with the support of a corporation. Shinkai has received support from Comics Wave (headquartered in Shibuya) since he began work on “Voices”. CW is a company that manages publishing rights for content and scouting/development of creators. They contract with manga artists and illustrators and serve as a conduit for bargaining with companies that want to use the creators’ characters.
DLE (HQ: Chiyoda Ward), a company founded in 2001 as a company that provides consulting for the video content industry, serves as FROGMAN’s producer. In addition to producing television programs, the company also aids in Flash animation and helped bring FROGMAN into the limelight.
Fanworks (Shibuya) produces independent animation and supports Rareko, of “The Fragile Tank” (やわらか戦車) fame. When the Internet-based animation took off, they served as a conduit for commercialization demands and helped boost its popularity by forming the “Fragile Tank Coalition Force.”
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To close out, here are some YouTube clips of some of the shows mentioned in this article:
An Akihabara Nerd to Run for the Upper House… Tarui Dresses Like a Fantasy Warrior on RPG-like Homepage
The LDP’s Foreign Minister Taro Aso is well-known for being popular among the Akihabara (read:anime/manga/video game nerd) set, but there is one man in the DPJ who considers himself an “Akiba-kei” (Akihabara-style otaku). That man is 39-year-old Yoshikazu Tarui, a former Lower House member. He is gaining attention for his uniqueness in such odd moves as putting pictures of himself dressed like a fantasy warrior on his business cards and homepage and displaying images of DPJ President Ichiro Ozawa dressed as “King Zawa.”
Open Tarui’s homepage, and a story on the theme of “a country built on entertainment” will begin. It’s set up like a role-playing game, and King Zawa asks “Warrior Tarui”: “Hey, what happened Tarui? What is it?” as the story progresses.
Tarui is well known as a professional wrestling and kickboxing fan in the DPJ, and “Killer Kan” a great general played by Acting President Naoto Kan also shows up. This is a pun on the famous wrestler Killer Khan who was big in New Japan Pro Wrestling and famous for his special move the Mongolian Chop. DPJ Secretary General Yukio Hatoyama’s appearance is still in the planning stages, reportedly.
Tarui is running in this summer’s upper house race as a proportional representation candidate, but in response to questions from Yukan Fuji (=ZAKZAK), he explains, “Since there are no Akiba-kei Diet members in Nagata-cho, I thought that I’d try and grab the segment of people who are interested in pop culture and digital contents, so I made this site.” His campaign promise is “promotion of the entertainment content industry.”
He has a fold-out business card with the word “Tarutsu” on the cover in the style of famous video game magazine “Famitsu” along with a photo of Tarui dressed as a warrior. Open the card, and along with pictures of Tarui with “King Zawa” and “Killer Kan” there is a pun-filled message: 「かったるい国政、変えたるい！！」 (I’ll change the tired old national politics!). On the back is the strong slogan: “Bring the first akiba-kei Diet member in history back to national politics!”
You’d think he’d have confidence in this masterwork, but Tarui actually seems to be keeping his distance: “I gave this to Kan, but I’ve been too scared to show it to Ozawa since I made it without asking. This might freak regular people out, so I am not giving it out so much. I am mostly just giving it to people in the industry.
Certainly, there are those in Nagatocho who are cool on the wacky concept, saying “all we can do is laught,” but a source close to Tarui explains that he’s “a totally serious person.”
Actually, in Tarui’s own running column in “Weekly Famitsu” magazine, he seriously explains his ‘pet project’: “Promotion of entertainment not only has economic effects for the country, but will also help to raise [Japan’s] image. Would you want to fire a missile at Korea after having seen Winter Sonata? If you consider those feelings, you can understand that entertainment content is truly the best diplomat for prevention of wat and boosting tourism and economic exchange!”
Even Aso must be surprised at this guy!
ZAKZAK 2007/02/13
Both sides are likely to run celebrities and other fluff candidates for the national PR seats this summer, but a seasoned policy wonk with a taste for the absurd? I like.
Since my last translation of something about the anime industry was something of a hit, I thought I’d do a little pandering and take a look at an emerging free manga in Japan as reported by Weekly Oriental Economy:
Free manga magazines: How exactly do they make money?
(2007/01/31)
People are abuzz about the free weekly manga (comic book) that is being handed out around Tokyo. The person behind it all let us know his business model (printed in Weekly Oriental Economy’s Feb. 3, 2007 edition)
The first free manga magazine in Japan, Comic Gumbo, has been released in Tokyo. Just recently, a “free paper” market has sprung up upon the success of Recruit Co.’s “R25” and “Hot Pepper” (see some of the contents of R25 at neomarxisme). In response, this manga magazine has pounded its way in.
The printer is Digima, a venture publishing firm. Company president Akihiko Kai (age 36) founded the company in Sept. 2005 after serving as an operating officer at Dentsu (Japan’s top ad agency) and Trans Cosmos (marketing/offshoring). Gumbo’s target audience is salarymen aged 20-40, and every Tuesday and Wednesday 100,000 copies are handed out at areas including major stations on JR’s Yamanote Line.
The size of Japan’s comic book market is approx. 500 billion yen (about US$4.1 billion, in annual sales I’m assuming). However, readers, who are mostly young people, have been stolen away by mobile phones and the Internet, setting the market on a downward trend. Kai explains: “To get into the market as a latecomer we needed to be bold by making our product free.”
What’s surprising is the fullness of content in the pages that wouldn’t make you think it’s free. The inaugural issue for Jan. 16-17 contained 12 series and was 230 pages long. There is also an impressive lineup of writers, including Tatsuya Egawa, author of Tokyo University Story (he’s doing a manga version of Botchan [English translation of the original novel at No-Sword]). The manuscript payments made to regular contributors are reportedly in line with other manga magazines.
Aggressive use of the Internet
So, can this be profitable? The company has not released its revenue plans, but there are only 26 pages of ads, constituting 10% of the entire book. This is far fewer than R25, which is 40% ads, indicating that they are not relying on ad revenue.
Actually, Digima allows readers to access past series on the Internet for a monthly fee of 500 yen. If membership grows healthily, then this by itself will serve as a major revenue source. In addition, the company intends to issue a trade paperback in the first half of this year. These two are what Kai envisions as the main revenue streams for his company.
The reason that Gumbo has included 12 series is simple. The more series there are, the more likely it is that one will become a hit. If a hit emerges, the trade paperback edition will become a long seller, allowing for healthy returns.
Free distribution is simply a method to lower the hurdles for entry into the market. The subsequent non-free businesses will be the main focus, making this fundamentally different from the free newspapers. The inaugural issue immediately “sold out” its 100,000 copies, succeeding in finding their way into readers’ hands. Will it be able to earn loyal fans? Gumbo’s true battle will be from here on out.
(Writer: Akihiko Fujio; Photo: Koichi Imai)
Comment: I don’t know about paying 500 yen/month just to read manga unless there were a series I was really into (or if I were into scanlations), but hey it sounds like a good enough model if the quality actually is high enough to result in hit paperbacks and TV/movie licenses.
If Foreign Minister Taro Aso can keep wonderful photo opportunities like this up, I would support him for prime minister no matter who he might want to nuke:
Japanese Foreign Minister Taro Aso, front centre, poses with Bulgaria’s sumo wrestlers during the opening ceremony of a donation to Bulgarian Sumo Federaton, in the Bulgarian capital Sofia, Thursday, Jan.
Bulgaria was likely singled out as it’s the home country of star Sumo wrestler Kotooshu. Kotooshu is currently an ozeki, one rank under Yokozuna, though he is unlikely to achieve yokozuna status, the top rank in the sport, for some time (Japanese Mongolian wrestler Hakuho might make it this year to the delight of people who want to see more JapaneseMongolian faces in the sport).
Aso has made promotion of Japanese cultural exports, chiefly anime and manga, a priority as he sees it integral to cultivating Japan’s “soft power.” You can read the details of his cultural diplomacy ideas (essentially, the main pillar in building a “Japan brand”) here.
The latest issue of Japanese news weekly AERA (more like a Japanese version of Time magazine than many other weeklies) contains an interesting bit on China’s animation industry that fits in nicely with my last few posts. Full translation follows:
Anime to make a comeback in China, where it started
by Reiko Miyake
China has been “invaded” by Japanese-made animation, but in fact this was the former world power that taught animation to Japan
China as a nation is currently putting its efforts into developing “Donghua.” Donghua is Chinese for animation and comic books. In the past 3 or 4 years, 19 cities nationwide including Shanghai, Changchun, and Hangzhou have been equipped as “Donghua headquarters” or centers for the animation industry. Schools to develop talent and studios are being established in earnest.
According to sources close to the issue, the scale of China’s animation character market amounts to as much as 100 billion yuan (approx. 1.5 trillion yen). Japanese animation such as Pokemon and Case Closed are enormously popular, and up to now a multitude of pirated versions have been distributed. While dominated by Japanee animation and Disney, here and there original Chinese-made animation has started to come out such as “Indigo Cat.”
A longer history than Japan’s
Inspections of imported animated works are strict, in part because of protection of domestic works. The first company to truly attempt to export to China was Mulan Productions. They are very skilled at the business of managing copyrights in China. They have produced many hits, starting with Crayon Shinchan in 2002 and following up with Dragonball and Fruits Basket.
Takashi Mita, chief of the company’s International Business Headquarters, explains: “First of all, the quantity of foreign animation that is shown in China is is restricted as a whole. It is subject to a strict inspection from the perspective of public order and morality, and works that contain many portrayals of sexual activity or violence are taboo. All in all, the condition for export is that the works are healthy for children.”
Looking just at the situation in the past few years, Japan looks like a developed country while China looks like a late bloomer in terms of their respective animation industries. However, it is not very well-known that China’s animation history is actually longer and had a major impact on the developing stages of Japanese animation.
At a Tokyo cinema in 1942, a young Osamu Tezuka watched “Princess Iron Fan,” an animated film based on the Chinese epic Journey into the West that was produced in Shanghai, which was an animation production center at the time. The fact that the intense emotion he felt at that time formed the basis for Tezuka to produce animation is an anecdote known by those in Japan’s animation industry. After becoming a comic book artist, Tezuka met with Princess director Wan Lai-Ming time and again.
After WW2, Wan and others gathered in 1957 to create the Shanghai Art and Film Production Studio, a nationally-run animation studio. These are the roots of Japan’s animation industry as well as China’s.
Decline due to the Cultural Revolution
Subsequently, Japanese animation has developed as both an art and an industry to take a 60% share of the $25 billion animation market. Meanwhile, China’s industry declined due to the Cultural Revolution after peaking in the 60s and 70s.
So, Chinese animation industry is now attempting to revive itself once again. The works that the Shanghai Art and Film Production Studio created from the 60s to the 80s will be shown from December 16 at the Shanghai International Film Festival.
Features gaining the most attention are 4 ink-painted short films. The Tadpole Searches for His Mother, made in the 60s, is a classic in which the movements of frogs and tadpoles are drawn in ink style, which though slightly blurred is very lively. It was shown at the 1964 Cannes Film Festival, where it won Honorable Mention.
Almost 50 years later, focus is once again on ink expression in China’s animation productions as students of a Chinese technician development school produce a 3-D animation using the techniques of ink animation. Director Wan’s long-format “Sun Wukong on the Rampage” will also be shown.
This will be the first film from Hayao Miyazaki ever since Howl’s Moving Castle achieved huge box office totals of 19.6 billion yen when it was released 4 years ago (November 2004). The new film is a story of Ponyo, a goldfish princess who wants to become human, and the five-year-old Sosuke. Producer Toshio Suzuki explains, “This is kind of like Miyazaki’s version of ‘The Little Mermaid.’” Tales of Earthsea, which came out last year, was supposed to have been directed by Hayao himself—he negotiated the film rights with the original author 20 years ago—but the director changed to his eldest son, Goro (pictured). As J-Cast reported earlier:
Open Tarui’s 
