Japanese weekly business magazine Shukan Toyo Keizai (Weekly Oriental Economy) has given me a very nice Xmas present: They finally post some free content online! I was even more delighted to discover that one featured article discusses a topic that’s come up in a recent post: the “decline” of Japan’s animation industry. According to animation critic Ryota Fujitsu (who incidentally also is on the selection committee for the Nippon Otaku Awards) argues that rather than declining per se it’s “hollowing out” due to outsourcing of animators. I decided to translate it in full since it brings up some interesting issues. Let’s have a look:

The Hollowing Out of Japan’s Animation Industry Continues

(2006/12/19)

Currently, Japan’s animation industry wouldn’t be viable without the presence of Korean and Chinese subcontracting companies. Why must the industry rely on foreign outsourcing? If you trace the causes of this dependence, you’ll find the answer lies in the low production costs. Normally, production costs of a 30-minute program amount to around 10 million yen apiece. However, it costs even more than that for a more elaborate project, and there are also many works that are produced for prices lower than 1 million yen. This situation has been going on for years, and you could say it has become entrenched. So as a result, the issue of low wages for animation staff, chiefly represented by the animators, has been repeated in the media. This is despite the facts that dozens of animated programs are shown every week, and animation has been proclaimed as “a subculture representative of Japan” by the media.

One third of animators make less than 1 million yen annually

The typical lifestyle of a contemporary animator was detailed in the 2005 study “Status of Activities and Lifestyles of Performing Artists” conducted by the Japan Council of Performers’ Organizations (tr: report available here in Japanese only).

According to this source, animators work an average of 10.2 hours a day, an estimated 250 hours per month. Despite this, 26.8% of the make less than 1 million yen per year, 38.2% earn an average annual income of between 1 million and 3 million yen annually. Meanwhile, 80% of in-between (douga) animators are paid by quantity, with per-cel prices averaging 186.9 yen. 73.7% had annual incomes of less than 1 million yen.
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Patrick Macias, journalist/author and expert on Japanese anime/manga culture, is one of my favorite commentators on Japan. Though I can’t say I share his affinity for Ultraman reruns and shitty 1970s Japanese rock bands, part of what I like about Macias is the fact that he understands Japanese culture but nevertheless takes what he enjoys from the country (namely otaku culture) without compromising his personality or values. A recent interview he granted podcast Otaku Generation featured some of his typical wit. I’ll transcribe some of the choice quotes so you don’t have to listen to the tinny, irrelevant banter of the questioners:

“I was told that the worst that I could do as a gaijin writer on Japan was to live in Japan because you need this perspective if you want anyone to pay attention to you. Otherwise you’re just one of those kind of circus monkeys they have on the TV shows there who sort of read the newspapers in the morning talking about American foreign policy even though even though they haven’t been in America for, you know, 10 or 15 years.”

“Pizza is a joke in Japan. People should be arrested for what they call pizza there. I think the mafia should just go over there and start shooting people ‘cuz that shit is not pizza. It’s like a tortilla with cheese on it and tomato sauce… And you don’t get that bloated, gassy feeling two hours later. It goes down too easy. With pizza, it’s got to be a struggle against your own humanity to digest it. At least American pizza should be… Even Mama Celeste would destroy the average pizza in Japan. Totino’s party pizza is gourmet compared to what you can get in Japan for top dollar.”
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If you enjoyed my recent posts on WW2 era comic book covers and are in the New York area, you may want to check out Superheroes: Good and Evil in American Comics, an exhibition running at The New York Jewish Museum from September 15, 2006 to January 28, 2007. Curated by Jerry Robinson, whose best known creation is The Joker, possibly the best known comic book supervillian of all time, showcases art from the golden age of comic books (from the popularization of the art form in the late 1930s until it came under a period of attack in the early 1950s) in the context of the socio-political conditions of the time. Naturally, since this is The Jewish Museum and the vast majority of early comic book creators were Jewish, there is a strong focus on the relationship that these creators’ Jewish identity had to their art.

Comic book news site Newsarama has a very interesting interview with Jerry Robinson about the exhibit.

NRAMA: Do you have any insight into why Jews were such a big part of the comic book industry in the beginning?

JR: I’ve done a lot of research on this and it’s going to become a book based on the two exhibitions and it will be published by one of the major art publishers in America. Jewish artists and creators have been prominent in New York culture since the turn of the century. A lot of artists, writers, poets, also scientists and other professions were in that first wave of immigration in the 1890’s/1900’s. Then the next wave was due to the rise of Nazism and that wave included a lot of artists, writers and theatrical people. So from that whole first half of the 20th Century, New York absorbed a lot of diverse talent, along with many other immigrants of other nationalities, German, Italian, Russian, etc. But many of them were Jewish and were prominent in their areas. For example, the early movie industry was also dominated by a lot of Jewish actors, writers, filmmakers from Europe. They immigrated to New York and settled in the Lower East Side and at one time there were hundreds of theaters around the country that were showing Jewish plays and performances. The film industry, again, had many prominent Jews such MGM with David O. Selznick, Carl Laemmle with Universal. I can’t name them all.

I was pleased to see that in the interview he also mentioned the exhibit’s collection of covers he chose to include Captain America #1, which earlier this week I called my favorite of the WW2 era anti-Axis covers.

Unfortunately, I will not be back home in the New York area until next summer so I will be missing out on this exhibit, but it sounds well worth visiting for anyone interested in the history of American popular culture, American/New York Jewish history, or comic books at all. And of course, while on this topic I must make a very strong recommendation that anyone with even the slightest, teeniest bit of interest in this stuff immediately get your hands on a copy of The Amazing Adventures of Kavalier & Clay by Michael Chabon. Don’t let the fact that it won the Pulitzer prize for literary scare you off. This fictionalized account of the careers of a a duo of Siegel and Schuster-esque creators of a Nazi-fighting superhero by the name of The Escapist is amazingly fun to read.

Thanks to Momus, I have discovered this sweet Japanese video site, Qoogle. It works like Digg to pick up popular videos on Youtube.

Highlight: The first episode of Doraemon. As a big Doraemon fan this is pretty sweet, complete with the lame music. And Giant’s voice is different somehow.

Recent exchange from the Colbert Report:

Biologist/god critic Richard Dawkins: [Evolution] is a highly non-random process. The big thing that everyone misunderstands about Darwinism is they think it’s chance, they think it’s an accident, and it’s not an accident.

Colbert: Well, it’s too complex for us to perceive, you know, it’s like, I know a pachinko machine isn’t an accident, either, there’s a reason why it bounces from nail to nail, but it looks random to me, right?

Dawkins: Nothing in nature looks random.

Colbert: I want you to address my pachinko analogy!

Dawkins: I’ve never even heard of it, what is that?

Colbert: You’ve never heard of pachinko? Oh, it’s like Japanese pinball. It’s great, they make pornographic versions of it over there.

The Colbert character proves once again to be more complex than meets the eye. Just when you thought you knew his aggressively ignorant conservatism, off he goes and admits not only to an interest in other cultures but even a playful love of pornography!

But anyway, I’d like to show you a little of what Colbert was talking about. Yes, pachinko is similar to pinball, but unlike in the US where pachinko continues a slow fade into near-extinction, the vertically played Japanese game remains Japan’s top gambling institution, beating out horse betting and lotto-type games (not necessarily in that order). The gambling business side of pachinko is only semi-legal and the parlor owners are well known for ties with North Korea.

As for the machines themselves, my personal favorites are the ones featuring the chinful mug of the game’s biggest promoter, wrestling legend and former Diet member Antonio Inoki, who incidentally also has close ties with the North Korean elites:

Are there pornographic pachinko machines? The Cutie Honey series, featuring big-breasted anime women, may count:

More famously, there are numerous machines featuring 80s anime sensation Urusei Yatsura:

The game features the bikini-clad character Lum, and the outside of pachinko parlors are often plastered with her image. Similarly, you’ll also see some risque shots of Fujiko-san from Lupin III to advertise pachinko games based on the seminal anime series:

If you want to call these games pornographic I wouldn’t object, but at worst they are the softcore stuff similar to what you’d find in American comic books. The difference, I think, is that Americans visiting Japan (like myself) would probably feel uneasy with the flagrant, in your face placement of these images in public outside pachinko parlors, especially placed in the context of plentiful pornography (bikini shots in kid’s comics, men reading newspapers featuring full nudity on the train) and casual misogyny found throughout Japan’s pop culture.

Incidentally, there’s been a recent (2004-ish) release of a pachinko version of the epic anime title Neon Genesis Evangelion, for those who might like that sort of thing:

The other day when I said that the style of WW2 era propagandistic superhero comics just couldn’t work today, but there is one anti-Nazi comic book of that era that deserves to be better remembered as an iconic image of the war period in America. This dramatic cover, published in March, 1941, marked the very first appearance of Captain America, who was given the very unusual honor of premiering in his own full length comic, instead of being tried out as a backup character in an anthology.

Why is this cover so different from the others? Where the DC covers were full-fledged propaganda posters, this is a proper comic book cover. Of the seven DC covers I posted before, five of them have propagandistic slogans as corny as any you would find on an official government poster, and the sixth is a highly stylized, static image of Superman standing astride the world holding Hitler and Tojo in each hand, clearly symbolizing the globally dominant power of the USA. The seventh cover, which depicts Superman ready to punch out the oddly jaundiced looking Japanese pilot of a warplane, is the only one that actually looks like it could be a comic book action scene as opposed to a propaganda poster, but the simplicity of the scene and the isolation of the two characters on a largely monochromatic background still feels kind of static.

On the other hand, we have Captain America-not about to punch Hitler, but clearly having just done so. There are Nazi officers all around, firing bullets at the Captain, who has clearly interrupted a planning session of “sabotage plans for U.S.A.,” which are conveniently laying on the ground, labelled in English. By opening with such a dynamic and dramatic scene, Captain America is portrayed from the beginning as a man of action and the champion of American virtue-but not necessarily the vehicle of the official government line and propaganda.

Why is that? Well, notice the date-March 1941. The US did not enter WW2 until December of that year, but the creators and publishers of Captain America at Marvel Comics (then called Timely Comics) were clearly urging us to. It is of course no coincidence that both the writer (Joseph Simon) and artist (Jack Kirby) were both New York Jews, the sons of immigrants from Europe. In fact, at this time basically the entire comic books industry was New York Jews. Naturally, they were no fans of Hitler, and this cover reflects what must have been a universal fantasy at the time. Certainly I myself, as a member of a New York Jewish family born decades after WW2, can hardly imagine anything more satisfing than smashing Hitler in the face. Even the staunchest critics of modern US foreign policy should admit that the cover of Captain America #1 is best summed up in one word: awesome.

Some comic book fans ask why modern story lines do not have, let’s say, Superman hunting down Osama Bin Laden and stopping Al Qaeda. I think these WW2-era covers make a very good case for avoiding those sorts of storylines.

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It’s ridden with clichés and won’t tell you anything that you wouldn’t have already known from reading this blog, but this obituary to Koizumi’s political career, written by the Northeast Asia bureau chief of the Washington Post, was at least kind enough to call the outgoing prime minister a “Jedi Knight.”

Needless to say, I’m assuming that the author ripped this idea from me and Curzon.

So are we reaching the end of Episode III now? Is Mori going to pull Koizumi out of the volcano, slap body armor on him and turn him into a Sith Lord? “Darth Kakuei,” maybe?

UPDATE – Curzon went straight to work on a Fireworks graphic. I also just recalled that Kim Jong Il was supposed to be the Emperor analog, so… hmm. Darth Bulgogi? I got nothin’...