Based on the manga created by Toshinao Aoki and Studio Bones, the animation in Dragon Pilot brings to mind the comic strip art of Bill Watterson. The premise of Dragon Pilot as well is the crazy kind of gross but hilarious and yet clever idea that Calvin of Calvin and Hobbes would come up with.

Unbeknownst to the rest of the world (and most Japanese), a select few of Japan's military aircraft, including an F-15J and an F-2 (Mitsubishi's made-in-Japan version of the F-16), are dragons disguised to look like fighter jets.

Hisone Amakasu is a rookie airman at the Japan Air Self-Defense Force Gifu Air Base. One day out of the blue she learns she has passed a "qualification" (she wasn't aware of) and is summarily transferred to a huge hanger way off in the corner of the base that no one seems to know about—except for an odd old woman who pushes a food cart around the base.

When Hisone finally finds the hanger, she walks in and is confronted by a huge dragon (she later names "Masotan") that promptly eats her.

The ground crew is delighted. It's been a while since a pilot passed muster with this particular OTF (an "Organic Transformed Flyer," as the military labels them). You see, the pilot doesn't ride atop the dragon like a horse. The dragon swallows the pilot, who "flies" the dragon from its guts. And when the flight is over, regurgitates her back out.

And, yes, the pilots have to wear special flight suits to keep from getting digested.

Needless to say, the dragon has a lot of discretion about who gets swallowed, and some, like Masotan, can get picky. The dragons are perceptive about the personalities of their pilots. They can even pick up mechanical issues with the real F-15Js they fly with (via the heads-up display in the helmets the pilots wear). But they don't talk.

It's eat or don't eat. Once they've formed an attachment, the one thing that really gives a dragon an upset stomach is his pilot forming a romantic relationship with another human being (which reminds me a similar plot device in My Zhime). No surprise, then, that the girls who make the best "D-Pilots" are not very socially adept.

For all its inherent silliness, Dragon Pilot raises fascinating questions about choice and free will. Hisone got something she didn't know she wanted. Nao wants something she can't get. Elle got what she didn't want instead of what she did. Moriyama gave up what she wanted and walked away to happily make another life for herself.

As Hisone tells Okonogi, a member of her ground crew and also, by family lineage (not something he had a lot of choice about either), a Shinto priest, "It's always best when the things you like and the things decided for you are in agreement."

That religious angle is no small matter. One of the old gods of Japan is a whale-sized monster, literally the size of a small island. It briefly comes out of hibernation every seventy-four years. The job of the dragon pilots is to escort it to a new resting place before it goes all Godzilla on Japan, and put it to bed with an ancient Shinto ritual.

The old school ritual required one of the miko attendants to stay behind in the "belly of the whale," so to speak. As far as Hisone is concerned, that is very much not okay. As it turns out, the food cart lady is the last living member of her squadron from the last time, when her reaction was the same as Hisone's.

In Calvin and Hobbes style, Hisone figures out an unlikely solution. It's a credit to the writing that the series manages to take these serious turns—and turn back again—without spoiling the comedic mood created earlier or making light of the dramatic decisions that Hisone faces (but be sure to stick through the final closing credits).

Masotan ultimately gets a character arc too, which suggests that perhaps the dragons will figure out how to compromise on the whole personal boundaries thing, and not force their pilots into the kind of all-or-nothing choice that Moriyama was left with. We have every reason to hope that the dragons will mature alongside their pilots.

Dragon Pilot is streaming on Netflix.

Labels: anime reviews, japanese culture, netflix, religion, shinto

Sony has been on an anime buying binge of late, having purchased streaming services Funimation and Crunchyroll, along with retailer Right Stuf, which were rolled into Funimation under the Crunchyroll brand. To top that off, Sony then set its sights on Kadokawa, a much bigger prize.

Kadokawa is one of the top three publishers in Japan, ranked slightly behind Shueisha and Kodansha.

In late 2024, Kadokawa and Sony confirmed reports that Sony was in talks to acquire Kadokawa. A buyout is not off the table, but effective as of January 7, Sony will instead take a 10 percent stake in Kadokawa (in newly issued shares) as part of a "strategic capital and business alliance."

Sony does not have a traditional publishing arm. As Sony Chief Financial Officer Hiroki Totoki explained earlier this year,

Whether it's for games, films or anime, we don't have that much IP that we fostered from the beginning. We're lacking the early phase (of IP) and that's an issue for us.

Sums up the Financial Times,

Sony is betting on a multibillion dollar push into producing more original content, as part of a creation shift the Japanese tech giant hopes will win it a greater share of the three trillion dollar entertainment industry.

The alliance will give Sony first dibs on Kadokawa's enormous catalog of manga and light novels. In exchange, Kadokawa ends up with much deeper pockets that it will use for "creating, developing, and acquiring new IP." Collaborative projects being discussed include initiatives to adapt

Kadokawa's IP into live-action films and TV dramas globally, co-produce anime works, expand global distribution of Kadokawa's anime works through the Sony Group, further expand publishing of Kadokawa's games, and develop human resources to promote and expand virtual production.

Crunchyroll obviously stands to benefit from the deal too. The acquisition of Crunchroll made Sony the dominant anime distributor in North America, though with Hidive, Netflix, Amazon Prime, and Tubi actively acquiring content, it can't be technically said to hold a monopoly position.

In publishing specifically, Kadokawa still has a huge competitor in the Hitotsubashi Group.

The Hitotsubashi conglomerate includes Shogakukan, Shueisha, Hakusensha and related subsidiaries, such as Viz Media in the United States. Given that Shueisha alone is bigger than Kadokawa (and together with Shogakukan is twice its size), the Kadokawa deal likely won't trigger any antitrust issues.

The bigger risk with these sorts of mashups is that the customer, responsible for the success of the enterprise in the first place, gets lost in all the bigness.

Labels: anime, business, crunchyroll, kadokawa, manga, netflix, publishing, sony

I usually sign up for a full year when I enroll at Crunchyroll. Unlike Netflix and Hidive, Crunchyroll acquires new anime titles at a prodigious enough rate to keep me engaged, especially after taking a short break to watch everything worth watching on Hidive and Netflix.

Plus an annual subscription saves around sixteen bucks over the monthly rate.

Though then I recalled that my last annual subscription ran out a few days earlier than I expected it to. A little research confirmed that, according to Crunchyroll itself,

Our subscription services are billed on a 30-day cycle (or 90 days, or 360 days), not a fixed rate. Since all months do not have exactly 30 days, the billing date can fluctuate, which can result in these changes.

Ah, now it makes sense. With the more typical month-to-month payment systems, we don't mind getting screwed over in February because the seven 31-day months will make up for it. The whole system is still more irrational than it needs to be.

If I ruled the world, I'd create a calendar of twelve 30-day months with four one-day festival days for the equinoxes and solstices, plus an extra day for the New Year. Then I'd shift the year forward ten days so that the Winter Solstice fell on New Year's Eve.

In ancient times, kings and emperors issued debt relief decrees on special occasions to win the loyalty of the masses. Given the complexities of modern economies, that wouldn't work today without creating all sorts of moral hazards.

I would stipulate that no rents or interest could be charged during those five festival days. This rule would not apply to all the common per diem expenses, only to rolling monthly and yearly accrued charges.

I'm sure it would take no time at all for retailers to come up with all sorts of "Interest free!" sales.

Oh, and I would get rid of Daylight Saving Time too.

Related posts

The relative time of day
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Labels: business, crunchyroll, geography, hidive, netflix, politics, science, streaming, technology

I let my Netflix, Crunchyroll, and HIDIVE subscriptions expire at the beginning of the year and spent the next six months mostly watching live-action Jdrama on Rakuten Viki, Tubi, and Jme TV.

The result of this little experiment? Far and away, anime remains my preferred medium for scripted entertainment. So I dropped Jme TV and won't renew Viki. Netflix stays on hiatus until its anime catalog refreshes.

It's not just me.

As Miles Atherton reports on Anime News Network, according to recent data released by Netflix, in terms of total hours viewed, anime not only overperforms in its category overall but makes up almost 80 percent of all Japanese language content viewed.

Starting with deep wells of proven source material, the inherent constraints of anime production sufficiently discipline the process (no anime studio has the resources to crank out a $200 million CGI flop) so that when everything comes together, a watchable work of art is the result on a reasonably regular basis.

Good stories told well.

To start with, this isn't about production values. HD video technology has largely leveled the playing field in that regard. Rather, the underlying problems come down to how the stories are structured, paced, and told.

Many hour-long Jdrama episodes should be thirty minutes shorter. (So should most movies.) I usually skip anime compilation films but doing the opposite works better. Editing Demon Slayer: Mugen Train into seven episodes improved on the movie. When it comes to single arc stories, a runtime longer than that just drags everything out.

The extended Yor arc in the second season of Spy x Family could have been easily compiled into a two-hour movie. But it works better in a five-episode format. And, frankly, I would have rather seen Code White handled the same way, creating a complete second season instead of a single cour.

A half-hour live-action show like Kamen Rider: Zero-One is thirty episodes too long. Past a certain point, filling the available time results in mindless repetition. I made it to the end of Kamen Rider: Kuuga solely on the strength of Joe Odagiri's performance and a fine supporting cast that created a great Scooby Gang.

Incidentally, comparing Kamen Rider: Kuuga (2001) and Kamen Rider: Zero-One (2020) illustrates how extraordinarily far budget CGI has progressed in the past two decades.

Yet despite the superior production values of the latter, the acting and dialogue elevate the former, even with its near-fatal plot holes and running a full two seasons (that's one season too many).

When Hollywood is running on all cylinders, it gets episodic television exactly right, with standalone episodes loosely linked by season-long dramatic arcs running in the background. So Fuyuhiko Takahori has the cause and effect backwards. The common point of failure is stretching a single story over more episodes than are needed to tell it.

There are writers who have mastered the formula. 99.9 Criminal Lawyer and Unnatural both run standalone episodes against background narrative arcs that pay off reasonably well. Three Star Bar in Nishi Ogikubo tells a complete story in six half-hour standalone episodes and completes a satisfying series-long arc.

But more often than not, you feel like you're stuck on a hamster wheel, spinning around and around and going nowhere. Anime is not immune to the problem. Demon Slayer and Jujutsu Kaisen spend too long on the hamster wheel (a rut the battle shonen genre easily falls into) while Frieren jumps off before overstaying its welcome.

This is why I prefer the slice-of-life genre. Challenges are taken on episode by episode, with an emphasis on the character arcs. In Komi Can't Communicate, Komi struggling toward her goal and Tadano simply being a genuinely good person (harder to depict than it sounds) make the story compelling.

Likewise, in the plot-heavy My Happy Marriage (Cinderella in early 20th century Japan), I find myself more interested in Miyo's self-actualization (that tired term actually applies here) than the tangled web of political machinations.

Interesting characters create interesting stories, not the other way around. In Jdrama romances especially, the realization too often dawns that, aside from the sturm und drang of the romance itself, these are really boring people. That and a smattering of common sense would fix most of their issues.

Both the abstract nature of anime as an artistic medium and the physical constraints of the production process make it easier to align the story to the viewing time in ways that are both more concrete and rewarding to the viewer.

Related posts

Anime reassessed (pacing matters)
Anime reassessed (culture matters)
Anime reassessed (numbers matter)

Labels: anime, anime lists, japanese culture, japanese tv, japanese tv reviews, jdrama, jme, netflix, streaming, tubi, viki

The two major pure-play anime streamers in the North America market are Crunchyroll and Hidive. Netflix is active enough in anime to place third, but a distant third to Hidive, while Hidive places a distant second to Crunchyroll.

That's how dominate Crunchyroll has become in the anime world.

Some of my all-time favorite titles, such as Insomniacs After School, Made in Abyss, Girls und Panzer, Patlabor, Beyond the Boundary, Beautiful Bones, Tsurune, Clannad, and The Demon Girl Next Door debuted on Hidive. More recently, though, Hidive has been abandoning licenses as fast as it is acquiring new content.

Patlabor, for example. One of the best mecha series of all time. A true Mamoru Oshii classic. Gone without a trace.

As a result, the second seasons of Call of the Night and The Dangers in My Heart are the only recent titles on Hidive that have caught my interest. Separately, Netflix and Hidive don't have big enough anime catalogs to justify staying subscribed for more than a few months at a time.

With Crunchyroll, by contrast, the ongoing challenge is combing through the next season's lineup every quarter and deciding what not to watch (because I simply don't have the time).

Since entering the anime licensing arena, international distributor Remow has embraced a go wide philosophy that includes sharing content on Tubi. Remow partnering with Hidive is the stuff MBA theses are made of, but I'm not sure how plausible it would be from a bottom-line business perspective.

My solution to this problem is for Netflix to buy Hidive and combine their anime catalogs under the Hidive brand (using Netflix's streaming architecture). Netflix would preserve Hidive as a standalone pure play for subscribers like me who aren't that interested in anything else on Netflix besides anime.

Netflix could feature popular Hidive titles on its own service and Hidive would benefit from access to Netflix's licensing and production teams.

Too many players in a niche streaming market works as much to the detriment of the consumer as too few. But I doubt the FTC would condone Sony buying yet another anime distributor on top of what has become the Crunchyroll colossus.

Netflix acquiring Hidive would bring some competition back into the anime market without forcing anime fans to sign up for yet another streaming service. Netflix's platforms are much better and Netflix could inject some fresh blood into Hidive's dwindling catalog with content from its own backlist.

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Japan's phantom content boom
Netflix in Japanese (1)
Netflix in Japanese (2)
Netflix in Japanese (3)
Samurai vs Ninja
Japanese language links

Labels: anime, business, crunchyroll, hidive, japanese tv, netflix, remow, sony, streaming, tubi

Earlier this year, The Hollywood Reporter ran a story about the international rise of Japan's domestic entertainment industry.

Aside from anime, which continues to see dramatic increases in supply and demand, I remain skeptical that we are "on the precipice of a [live-action] content boom" from Japanese production houses. Rakuten Viki is a good yardstick and it continues to rely heavily on South Korea, China, and Southeast Asia for content.

Not Japan (despite Viki being a Japanese company). However, I do agree that despite the plodding evolution of the market,

the live-action series space is the area of Japanese entertainment where the surging investment from big foreign streamers is changing production standards most and where insiders say there is the biggest potential for a reinvigorating shake-up.

"Big foreign streamers" pretty much means Netflix. And maybe Jme TV, if it ever gets its act together.

Netflix has a strong presence in Japan and has been increasing the number of licensed and in-house productions it is sending east across the Pacific. Among subscription services, Netflix has the third biggest anime catalog in the North American market after Crunchyroll and Hidive and is getting competitive in live-action as well.

Although the live-action Japanese language catalogs at Netflix and Viki are about the same (adding in anime doubles the size for Netflix), Netflix has a wider range of curated content and an equally affordable entry point. And for now, Netflix is acquiring Japanese content for its North American catalog at a decidedly faster pace than Viki.

So little new Japanese content is showing up on Viki that I wonder if it decided to focus on Kdrama rather than compete with Netflix and NHK Cosmomedia. NHK Cosmomedia dumped all its premium streaming eggs into the Jme TV basket and is very likely staking a claim on every live-action series produced domestically.

I'm not convinced that effort is going to pay off. To start with, unlike Viki and Netflix, NHK Cosmomedia localizes very little of its catalog. Which brings us back to Netflix and Samurai vs Ninja and Tubi (that licenses Samurai vs Ninja content) as the only sure bets for localized live-action Japanese television going forward.

Though as I have pointed out previously, I can't pretend this is a great loss, as live-action Japanese television melodrama is a genre that has slowly but surely lost much of my interest.

Related posts

Japan's phantom content boom
Netflix in Japanese (1)
Netflix in Japanese (2)
Netflix in Japanese (3)
Samurai vs Ninja
Japanese language links

Labels: anime, business, japanese tv, jdrama, jme, netflix, samurai vs ninja, streaming, television, tubi, viki

In a previous post, I discussed what has become a perennial problem in the entertainment business: spending too much time on too little plot.

One example I offered for efficient scriptwriting is Three Star Bar in Nishi Ogikubo, that tells a satisfying tale in six half-hour largely standalone episodes.

Gamera Rebirth also does a good job in six forty-five minute episodes, integrating a backstory with the complexity of The X-Files without dragging the audience through all the nitty gritty details.

It then queues up a sequel (a single scene following the credit scroll) without resorting to a cliffhanger ending.

But perhaps the epitome of a tightly written teledrama is Monsters: 103 Mercies Dragon Damnation. In all of twenty-five minutes, we get a beginning, middle, and end, a (somewhat predictable) twist halfway through, and a conclusion that provides the promised payoff with another clever (and foreshadowed) twist.

Followed by a brief coda that ties it back to the One Piece universe.

This may be a bit of a spoiler, but Monsters takes a cue from the "management by walking around" governing style on display in samurai action classics such as Abarenbo Shogun and Mito Komon, that has a high government official mingling among the common folk into order to ferret out the bad guys.

It's an approach favored as well by Emperor Shouryuu in the Twelve Kingdoms.

This little gem was penned by One Piece mangaka Eiichiro Oda. Granted, if you're not familiar with One Piece, you may wonder what a French swordsman, a samurai, and a dragon are doing in a town straight out of the American West. But you quickly stop wondering because the narrative can carry that weight.

I don't follow One Piece closely and wasn't aware of the connection before watching the show. And yet despite the odd anachronisms, it was still one of the most entertaining movies I've seen in quite a while.

Monsters: 103 Mercies Dragon Damnation is streaming on Netflix.

Labels: anime, anime lists, anime reviews, jdrama, netflix, thinking about writing, viki

Starting perhaps with the Sakura Wars franchise, the two decades from the end of the Russo-Japanese War through the Taisho era (1905–1926) have come to encompass Japan's steampunk period.

Also known as the Taisho Democracy, a flowering of democratic ideals leading to a short-lived parliamentary system, it is the setting for My Happy Marriage, Otome Youkai Zakuro, Demon Slayer, Golden Kamuy, Taisho Otome Fairy Tale, Taisho Baseball Girls, and many others.

My Happy Marriage and Otome Youkai Zakuro also share a similar premise. Though the modern age is upon them, they still live in a demon-haunted world and those demons have to be dealt with.

In My Happy Marriage, Kiyoka Kudou is the stoic leader of the Special Anti-Grotesquerie Unit, while in Otome Youkai Zakuro, Kei Agemaki is the stoic second lieutenant in the Ministry of Spirits.

Kudou's team pacifies rampaging youkai while Agemaki (aided by two fellow officers and three youkai allies) is tasked with dispatching the worst of the lot while reaching negotiated settlements with the rest.

Though as the title suggests, My Happy Marriage primarily concerns itself with the relationship between Kudou and Miyo Saimori and the complications that ensue. As a result, he ends up spending more of his time fighting other human magic wielders than actual youkai.

Miyo Saimori is the Japanese Cinderella in this story and Kudou is her prince charming, except he is not at all charming when they first meet. He's more like Fitzwilliam Darcy on a bad day and his reputation precedes him.

Even during the Taisho era, the aristocracy used marriage to conduct business and politics. Kudou, for one, is tired of the gold diggers and opportunists showing up on his doorstep and assumes the worst of Miyo as well. Once he realizes that all she wants is to be nowhere near her stepmother and stepsister, he begins to warm to her presence.

I was wary at first about My Happy Marriage for fear of being drenched in Miyo's misery. But the worst of it is over by the end of episode one, with the evil step-people making a return visit in episode five.

Convinced that Miyo had no supernatural powers, Miyo's father was eager at first to get rid of her and was surprised when Kudou accepted. A little genealogical research later, it becomes apparent that Miyo is a descendant of the powerful Usuba bloodline on her mother's side. Even if she has no powers now, they are likely to manifest later.

So now they want her back. But in the meantime, Kudou has grown quite fond of her. He is not about to give up this diamond in the rough without a fight. You really don't want to get Kudou mad and have him go all Hulk Smash! on you.

A big difference with Otome Youkai Zakuro is that we don't actually see Kudou doing his job until the second half. In the first half of the series, he's got his hands full dealing with his in-laws. In the second half, Miyo's connection to the Usuba clan has caught the attention of the powers that be, who fear she will upset the status quo.

My Happy Marriage concludes with the Taisho emperor (Yoshihito in our world) going off the rails (which he did in our world too) and Takaihito (Hirohito) stepping in as regent. Miyo is safe and the situation has stabilized for the time being. But hardly permanently. So a second season is in the works.

My Happy Marriage is streaming on Netflix.

Labels: anime, anime reviews, fantasy, history, japanese culture, netflix, politics

I gave up on Jme TV, NHK Cosmomedia's streaming replacement for TV Japan. They're charging the same $25/month they did for the cable channel, an amount completely out of whack with comparable streaming services. Jme offered to grandfather the VOD service for $15/month, which is no less absurd, especially given the size of its catalog.

In many cases, push the price point low enough and you can stop thinking about the sunk costs. Kocowa, for example, South Korea's equivalent of TV Japan, offers its basic plan for $7/month. But the Jme TV website and app are so poorly designed that I'd be unlikely to stick around at any price greater than zero.

Speaking of which, NHK really ought to host a version of the Jme Select channel on NHK World Japan, along with the Asadora. If nothing else, it'd be a great publicity move. TV Japan used to be the only game in town for live-action Japanese content. Used to be. That built-in audience is long gone by now.

NHK World Japan, TV Japan's public service sibling, has something worthwhile to offer most days (especially during the sumo tournaments). NHK posts its flagship domestic newscasts online. Japan's commercial news networks stream their television feeds on YouTube. NHK's hourly radio broadcasts are also online.

And it's all free.

Back in February (the offer has since expired), I couldn't resist Rakuten Viki's 30 percent off sale and got the annual basic plan for $3.50/month. Even with its emphasis on romance and Kdrama, Viki has a decent enough collection of contemporary Jdrama that there simply isn't a downside.

Though given the glacial pace at which Viki acquires new Japanese content, I'll probably subscribe every other year. That's one reason why I think Viki should do a deal with NHK to license more of their material. (It is very telling that Rakuten Viki, a Japanese company, is dominated by Korean and Chinese content.)

Tubi is probably the best FAST (free advertising supported streaming television) streaming service currently available.

As Jordan Minor puts it, "Tubi fearlessly gets down and dirty by adding whatever cheap, old, and just plain weird stuff it can find to make sure you can always look forward to a novel viewing experience." In other words, Tubi's Japanese content consists of everything from art house to grindhouse to anime, along with quirky travelogues and documentaries.

Tubi has few contemporary Jdramas series, such as Daughter of Lupin and Special Security Squad and romances like A Girl and Three Sweethearts. Plus many more older period dramas and Sonny Chiba actioners. At least two dozen subbed or dubbed Godzilla and kaiju films, four Kamen Rider series, and a sizable selection from the Ultraman franchise.

My only big gripe with Tubi is the absence of language and country filters that would make it easier to find live-action Japanese content. Tubi has three anime channels and two Kdrama channels but nothing specific to Jdrama.

Many of the Japanese historical dramas on Tubi are distributed by Samurai vs Ninja, which has an impressive collection of action-oriented television movies and series from the 1970s up to the present. Content can be viewed online and there are apps for Android and Apple (but not Roku). The cost of a streaming subscription is $7.99/month.

Netflix's affordable ad-supported tier provides access to an eclectic collection of anime-inspired adaptations (One Piece and City Hunter being two of the latest), live-action dramas, and reality TV. Netflix licenses and produces new Japanese content on a regular basis.

With its worldwide reach, Netflix is emerging as one of the best sources of modern Japanese movies and television outside Japan. Netflix also provides subtitles in English and Japanese for many of its Japanese and non-Japanese titles.

The focus here is on live-action television, but you could spend a good portion of your life working through the free anime catalogs at Tubi and Retrocrush alone. Then for under $20/month total, you could add to that Crunchyroll, HIDIVE, and Netflix, and you'd need another lifetime.

Related posts

Jme TV (NHK World Premium)
Jme TV (grumpy old man edition)
Tubi in Japanese
News from Japan (in Japanese)
Japanese language links

Labels: anime, hidive, japanese culture, japanese tv, jdrama, jme, netflix, nhk, samurai vs ninja, streaming, tubi, viki

This list of Japanese language resources is not intended to be definitive. These are simply the sites I access the most.

My main online dictionary is Weblio. I also reference Eijirou and Word Bank.

Along with the Random House Dictionary from my WordPerfect days (it's an ancient TSR that runs in vDOS), my favorite English language dictionary is Word Hippo.

NHK World Japan is NHK's English language service. The live feed can be viewed online, along with an extensive VOD library and OTA in some areas (9.4 in Northern Utah). There are apps for most streaming platforms.

Good Morning Japan, News at Noon, News 7, and International Report, NHK's four domestic news programs, are available on the NHK World Premium website. The site also includes recent episodes of Today's Close-Up, A Small Journey, and A Hundred Views of Nature.

The previous 24 hours of NHK Radio newscasts can be streamed online.

YouTube hosts a large number of commercial network news feeds from Japan, including the always delightful Weather News (hosted coverage begins at 5:00 AM JST).

For now, my primary sources for anime and Jdrama are Crunchyroll, Netflix, and Tubi. Many of the Japanese historical dramas on Tubi are distributed by Samurai vs Ninja. I purchase emanga at BookWalker.

A Japanese tutoring YouTube channel I watch on a regular basis is Kaname Naito.

Related links

Weblio
Eijirou
Word Bank
Word Hippo

NHK World (Japanese)
NHK World (English)
News from Japan
NHK Radio News

Crunchyroll
Tubi
Netflix
Samurai vs Ninja

BookWalker (Japanese)
BookWalker (English)
Kindle Store
Yes Asia

Labels: anime, bookwalker, crunchyroll, ebooks, hidive, japanese, japanese tv, jdrama, jme, kindle, language, netflix, nhk, nhk world, samurai vs ninja

Returning to the story about the international rise of Japan's domestic entertainment industry in The Hollywood Reporter, the article also touches upon the unique way IP rights are handled in Japan, which I think deserves additional attention. It is an example of what has come to be referred to in Japanese business lingo as the "Galápagos syndrome."
The term was coined to describe Japan's homegrown 3G mobile phones, that emerged "like the endemic species that Darwin encountered on the Galápagos Islands, fantastically evolved and divergent from their mainland cousins." And now refers to the development of goods "in relative isolation from the rest of the world because of a focus on the local market."

That "focus on the local market" is key.

I think the same metaphor can be applied to popular culture in Japan. It's what made anime both familiar to kids who grew up watching cartoons such as Jonny Quest and Spider-Man and also so unique. But like those 3G mobile phones, other forms of entertainment, especially live-action television, have evolved completely out of sync with Hollywood expectations.

One reason for this is that Japan's economy is large enough to comfortably sustain both the production and consumption side of the equation. Add to that Japan's isolationist past during the Edo period, which even today is not seen as a bad thing. A Japanese business with an established home market needs a compelling reason to look elsewhere.

And then there's the unique way IP rights are handled in Japan.

The Writers Guild of America made a lot of noise about the rights of content creators during its extended strike. In Japan, with nothing like the bargaining power of the WGA, writers retain rights to their own IPs in ways that WGA members can only dream of.

At the same time, an aspiring mangaka can only dream of making the guaranteed minimums that a working screenwriter is paid in Hollywood. A mangaka with a syndicated series won't earn a living wage unless and until that series is successful enough to justify the publication of a tankoubon edition. Until then, it is sink or swim.

Netflix likes to say that it doesn't impose its production approach on foreign content industries, but rather finds compromise modes of dealmaking, development and production that take into account prevailing local practices. In Tokyo, however, the company undoubtedly has had to bend far further to the Japanese way of doing things than elsewhere, adapting to local realities such as the strong control manga creators often retain over their IP even after licensing agreements and the outsized industry power of Japan's notoriously fickle talent agencies.

Those notoriously fickle talent agencies resemble the old Hollywood studio system that ruled the roost until 1948, when it succumbed to an antitrust ruling by the Supreme Court.

Like the Hollywood studio system, Japan's talent agencies take it upon themselves to recruit new talent and sort the wheat from the chaff. They have traditionally exerted enormous control over all aspects of the domestic entertainment industry, including dictating which of their stars will be cast in a show. As Mark Schilling analogizes the system,

Talent agencies control their talent much in the way the feudal lords controlled the samurai in their clans, supporting their livelihoods in return for absolute fealty.

Unsurprisingly, as the ugly demise of the biggest and baddest talent agency of them all, Johnny & Associates, made clear, absolute power corrupts absolutely. And yet despite the horrible publicity, the influence of the talent agency system on the live-action side of television production in Japan remains undiminished.

The constraints under which Jdrama is produced is another example of the Galápagos syndrome, a big reason I remain dubious about Jdrama finding the same kind of overseas market as manga and anime and Kdrama.

Manga publishers perform a similar function, soliciting content from across the country and vigorously testing that content in the first-run print syndication market. But they do so at an arm's length. Your audition is a PDF file or an over-the transom manuscript. Moreover, there are dozens of self-publishing platforms (doujinshi) and numerous online options.

As noted above, starting out, even the majors (Shueisha, Kodansha, Shogakukan) won't pay you enough to live on, but they let more feet in the door. I like to compare the system to Minor League Baseball. Every mangaka starts out down in the Rookie leagues and aspires to make it to Triple-A and then to the Majors (also known as Weekly Shonen Jump).

If and when that happens, like an up and coming baseball star, the mangaka rises to the top with a proven track record. Unhampered by the talent agency system, there is nothing holding back a mangaka's publisher from actively exploring all of the available licensing opportunities, both at home and abroad.

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Whither TV Japan
Japan's phantom content boom

Labels: japanese culture, japanese tv, jdrama, manga, netflix, streaming

The Hollywood Reporter has an interesting story about the international rise of Japan's domestic entertainment industry. Anime is a given and Kdrama is all the rage these days, but the market for made-in-Japan live-action productions (produced in Japan or based on Japanese content) is seeing (we're told) a renaissance. Japan is "on the precipice of a content boom."
"There has never been more global curiosity and love for Japanese culture, and with that interest, there is so much potential for Japan's entertainment industry to regain momentum," says Netflix's Minyoung Kim, who was based in South Korea and now works out of Tokyo.

The live-action remake of One Piece is a recent example. Netflix hopes to duplicate that success with a big-budget live-action adaptation of another manga and anime classic, Yu Yu Hakusho.

One telling statistic is that live-action productions in Japan have typically been budgeted at around $250,000/episode. To put that in context, what an episode of Star Trek cost sixty years ago. Comparable Hollywood budgets start at ten times that amount. So spending only five times as much is bargain basement.

Thus it comes as no surprise that

the live-action series space is the area of Japanese entertainment where the surging investment from big foreign streamers is changing production standards most and where insiders say there is the biggest potential for a reinvigorating shake-up.

Of course, the potential will always be there. For now, though, the appeal of Jdrama outside Asia remains so low that any improvement at all in the overall numbers can end up looking far more impressive than it actually is. Frankly, I'm not convinced that what the The Hollywood Reporter is describing will amount to a positive long-term trend in content acquisition.

Streamers like Netflix and Amazon, in a Red Queen race to to fill the bottomless pits of their catalogs, are simply grabbing the low-hanging fruit. But take note of what they are not doing—namely licensing shows already in production for Japan's domestic broadcast television audience.

Cultural mismatches between the tastes of the domestic audience and the overseas audience may be impossible to overcome at scale. Kdrama, like anime, was a fit right out of the box, and so could iteratively build on that foundation. More supply equaled more demand. Except there has never been any organic demand for live-action Japanese television in the first place.

As a case in point, variety and infotainment shows make up the majority of the broadcast schedule in Japan. Yet other than sifting through the catalogs and picking and choosing odd and interesting titles here and there, nobody has figured out how to "capitalize on the category anywhere near to the extent to which it already dominates traditional TV in the country."

Add to that the gatekeeping function of Japan's powerful talent agencies. Outside the news divisions, practically any human being appearing on Japanese television has been vetted, approved, and booked by a talent agency. Their primary interest is the domestic market and the advertising revenue it generates. Markets outside Asia are not an immediate concern.

Which is why I expect this "boom" to eventually regress to the mean. Japan may well become home to thriving overseas production facilities, but as cogs in the Hollywood offshoring and outsourcing machine, not deep wells of backlist material just waiting to be localized for North American distribution.

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Whither TV Japan
Galápagos entertainment

Labels: anime, japanese culture, japanese tv, jdrama, kdrama, netflix, streaming, television

With dLibrary Japan offline until April 2024 (at the latest), it's once again time to reshuffle my Japanese language streaming choices. Tubi and NHK World Japan are free, so no decisions to make there.

Viki goes into watch and drop rotation. No complaints about the service itself. To start with, it's eminently affordable. It's a content mismatch. The Japanese content focuses on BL and romance. Frankly, when it comes to romance, Jdrama simply doesn't measure up to manga and anime.

I prefer police procedurals, low-stakes slice of life dramas, and documentaries, which Japanese television writers are much better at pulling off.

Viki has a few in that category, just not that many. But speaking of which, I see that Viki has licensed 99.9 Criminal Lawyer. It's a well done execution of the reliable formula that pits an eccentric defense lawyer against his uptight boss (a corporate lawyer because it pays much better).

And while I'm at it, I'll again point out that Viki has Sleeper Hit, a fun, insightful, and even philosophical examination of the manga publishing world and the hard-nosed business of selling art.

In any case, as with pretty much every streaming service that doesn't focus specifically on Japan, Viki's Jdrama offerings take a back seat to its Kdrama series (true of Tubi and Netflix too). But if that is what you're looking for, Viki is one of the better overall sources for Asian content.

Unfortunately, take away dLibrary Japan and Viki and there aren't that many viable Jdrama alternatives left. When TV Japan was alive on traditional cable, it added up to eighty (!) bucks a month for a single channel on Xfinity. Not an option when I cap my monthly streaming budget at twenty dollars.

Tubi has a few Jdrama series and (subbed) Japanese movies worth watching. It sure doesn't make them easy to find. But a little effort will occasionally turn up genuine classics, campy tokusatsu series (featuring primitive CG effects and guys in rubber suits), and recent releases like Blue Thermal.

At least for now, that leaves Netflix as far and away the best of the remaining Hobson's choices.

Anime, by comparison, offers an embarrassment of riches. Thanks to Sony's acquisition of Funimation and Crunchyroll, Crunchyroll rules the anime streaming world. You could watch Crunchyroll all day long and not make a dent in the huge backlist before getting swamped by dozens of new titles.

The annual subscription option makes Crunchyroll an even better deal. On price alone, HIDIVE is the most affordable anime streaming service but is so much smaller that it's hard to justify an annual subscription anymore.

I've been following Princess Principal and Girls und Panzer on HIDIVE. Both franchises have moved to the theatrical model. This wouldn't be a problem if they were releasing standalone movies but they're actually serials. What we end up with are regular series produced at a glacial pace.

I'll wait until a season is over before watching it. I'm very much on board with the old Netflix approach of releasing a whole series at once. Even on Crunchyroll, I watch a season behind the current schedule. The added benefit is that makes it easier to figure out which series are worth the time.

While waiting for titles to accumulate, HIDIVE joins Viki in the watch and drop category. Once I run out of live-action content on Tubi, I'll shift to Viki and then to Netflix. Netflix uniquely provides Japanese subtitles for much of its Japanese content, a very valuable language learning resource.

Related links

NHK World (Japanese)
NHK World (English)
Crunchyroll
HIDIVE
Netflix
Rakuten Viki
Tubi

Labels: anime, business, crunchyroll, dlibjapan, hidive, japanese culture, japanese tv, jdrama, kdrama, manga, netflix, nhk, nhk world, sony, streaming, technology, tubi, tv japan

The customer base aside, Netflix CEO Reed Hastings has already proclaimed himself a fan of the company's foray into ad-supported video-on-demand (AVOD), calling the rollout of Netflix with ads

a good tactic, because we get to offer consumers lower prices. I didn't believe in the ad-supported tactic for us and I was wrong about that. I wish we had flipped a few years earlier on it. But we'll catch up and in a couple of years we won't remember when we started it."

Hasting is not alone in his enthusiasm for the AVOD model. Fox saw revenue for Tubi grow nearly 30 percent during the last fiscal quarter, with Tubi's revenue surpassing the advertising revenue generated by Fox Entertainment "in a meaningful way" and quarterly viewership rising to 1.3 billion hours.

Given the light ad load and the reasonable cost, I'm sticking with it. It's still a work in progress. The Roku app crashes occasionally when launching an ad, though it's getting better. In terms of platform stability, Tubi still has the advantage. The ad selection was terrible when it first launched but that's improved too.

During the halcyon days of the DVD era, the "Netflix Prize" made a big splash among statisticians and programmers. A one million dollar bounty and a fifty grand yearly incentive were awarded to independent teams who could better optimize its movie recommendation system.

Well, Netflix needs to resurrect that program and apply it to AVOD. Who knows, maybe it already has. I'd assume advertisers would pay premium rates to have their ads shown to consumers interested in their products. Isn't that why a big tech company like Microsoft got into this business in the first place?

So far, the ad placement doesn't seem any smarter than the century-old OTA approach, according to which broadcasters spray ads into the ether and hope to hit their prime demographic. At least when watching golf, it's clear that the advertisers expect a bunch of corporate types with deep pockets to be in the audience.

I did check the "Behavior advertising" box, and given two decades of my viewing history (counting all those DVDs), Netflix should know my tastes very well already. But for all the talk of big data and AI these days, I observe very little intelligence on display in online advertising beyond cookie tracking.

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Netflix with ads
Netflix with ads (content)
Netflix with ads (first impressions)

Labels: business, netflix, streaming, technology, television

So I reactivated my Netflix account using the "Netflix with ads" option. My original queue was still there eight months later, though that caused problems when my old Roku queue picked a fight with my new online queue. I finally let the old queue win, deleted everything, and started over.

In the meantime, Netflix made an important update to its search tools. "Browse by Languages" is now featured in the top menu. Previously, the only way to bring up the language menu was to search for the language content first (you had to search for Japanese content in order to search for Japanese content).

This is one feature that Tubi really needs to implement. Just steal the whole UI from Netflix. Though one oddity is that if you select the A-Z filter, you only get the first half of the alphabet. You have to select Z-A to get the other half. Hey, it's a feature, not a bug! (Don't steal that part.)

Netflix has about as many Japanese live-action series and features as Viki and Tubi, though Netflix covers a wider variety of genres and Tubi features older rerun material. Of course, Crunchyroll and HIDIVE have many more anime titles. Another big difference is that Netflix closely curates its catalog.

That curation does make a difference. Compared to Crunchyroll, HIDIVE, and Tubi, I have seen or am interesting in watching a higher percentage of Netflix anime titles (though there seems to be a polarizing effect too, as the ones I'm not interested in I usually have zero interest in).

At the top of my current list are the latest seasons of Ghost in the Shell, Ultraman, Midnight Diner, and The Way of the Househusband, along with Kotaru Lives Alone, Romantic Killer, I'm Old Enough, and The Makanai, the live-action version of Kiyo in Kyoto.

Though along with its Lupin the Third and Tokusatsu flicks, Tubi's kitchen sink approach occasionally produces some golden oldies.

For example, Tubi has Sonny Chiba's Shadow Warriors ninja series from 1980. Japanese broadcast television was more permissive back then, so along with the slicing and dicing, most episodes feature at least one scene of totally gratuitous nudity. Sonny Chiba's charisma shines through regardless.

As did Hollywood at the time, Japanese television studios back then mastered everything on videotape. It'd be nice if Netflix could grab some old samurai action classics (like the more family friendly Abarenbo Shogun) and run the SD masters through the best upscaling technology available.

On a separate note, I observed last summer that Eleven Arts had pulled its excellent slate of anime movies from Tubi, including Liz and the Blue Bird, Maquia, Penguin Highway, Sound Euphonium, and The Wonderland. They've since all shown up on Crunchyroll.

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Kiyo in Kyoto
I'm Old Enough
Netflix with ads
Netflix with ads (first impressions)

Labels: anime, business, crunchyroll, hidive, japanese, netflix, samurai vs ninja, streaming, television, tubi

Marketers refer to the nonlinear (video on demand) streaming business as "connected TV" or CTV. Ads for CTV are packaged in "pods," meaning "multiple ads sequenced together and played back-to-back within a single ad break."

Tubi has the lightest ad load of the ad-supported video-on-demand (AVOD) services. Another reason to like Tubi.

Ads [on Tubi] take up 4–6 minutes per hour of viewing, occurring every 12–15 minutes at 3–5 ads per pod, giving advertisers increased brand recognition and recall in an environment where the viewer is most receptive.

My experience with Tubi is that every program starts with a single "bumper" ad and then between 2–4 and 3–6 ads per pod.

For the time being, Netflix has delivered a lighter ad load than Tubi with its new ASVOD (ad-supported subscription video-on-demand) service. Though as Jay Peters points out, the ad placement is all over the place. Netflix with ads is a beta product still in the shakeout stage.

The transitions between the content and the ad pod can be so abrupt as to be jarring. Simply getting the timing right, along with a fade out and fade in, would make a big difference.

Netflix should consider the National Geographic approach. I grew up with the magazine, which only placed ads before and after the editorial content. (Even for a middle-class kid, those ads, aimed at an audience with deep pockets, could be as exotic as the articles themselves.)

Another pending problem is that not all content will be available on the ASVOD tier. In most cases, this simply means that the licensing agreements have to be renegotiated in order to divvy up the ad revenue.

"Netflix continues to haggle with several major studios for the right to run ads against their content in the new service" so this list is in flux. Unavailable content is displayed with a little padlock icon beneath the title.

I resubscribed to Netflix in large part to catch up on Komi Can't Communicate, Ghost in the Shell: SAC 2045, Ultraman, and I'm Old Enough! (which I first saw on TV Japan many years ago), all of which are available.

The current Apple TV app doesn't support ad insertion at all (they're working on it), one consequence of Netflix wanting to get a jump on the Disney+ ASVOD launch in December. But no problem, I'm a Roku guy.

Then there's the question of whether to use the ASVOD tier at all. When Netflix launched the service, it also increased the video resolution of its Basic tier to 720p. Frankly, it's probably worth the three bucks to get rid of ads altogether.

On the other hand, Netflix was a pioneer in the streaming business, and together with Microsoft (engineering the underlying technology), I'm sure they will be innovating in the ad space as well. So I'm going to stick with the ASVOD tier a while longer to see how it develops.

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Tubi (update 4)
I'm Old Enough
Netflix with ads
Netflix with ads (content)

Labels: anime, business, japanese tv, netflix, roku, streaming, technology, tubi, tv japan

Netflix has announced that its new ad-supported tier will launch on November 3, 2022.

The new service promises an "average of 4 to 5 minutes of ads per hour" at up to 720p (also for the Basic plan). This is a significant improvement over the 480p resolution that came with the Basic plan when I first joined.

It'll be interesting to see how well the new service compares to Tubi. Right now, Tubi has the best ad engine in the business. The viewing experience compares well with OTA channels like ION and MeTV. Likewise, Tubi streams at up to 720p.

Tubi's one big failing is discovery. While it does divide titles into genre categories like "Anime" and "Foreign Language TV," aside from a general keyword search, it lacks specialized filter functions like language and can't sort alphabetically.

Tubi has an impressive amount of Japanese language content in the Foreign Language categories, but it's not easy to track down. Unlike K-drama, there isn't a J-drama collection. Try keyword searches for "Japan" and "Japanese" instead.

Of course, Tubi is free while the "Basic with Ads" plan will cost $6.99/month (I do expect fewer ads per hour). I dropped Netflix last March when it raised the price of its Standard plan to $15.49. This price point is far more tolerable.

Netflix is rolling out the service worldwide. Variety lists the prices for the major international markets at the bottom of this article.

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Tubi (update 4)
Netflix with ads (content)
Netflix with ads (first impressions)

Labels: anime, business, japanese tv, netflix, streaming, tubi

I like Tubi, especially with Netflix raising prices again. I like it even more since the Roku 10.5 OS update, which seems to have addressed most of the stability issues that once plagued the Tubi Roku app. But the website needs work.

Like adding some rudimentary filters to its existing genre categories. The best that I can tell, titles in the anime category are displayed according to most viewed status overall. That means everything in the list is constantly floating around without any way to predict what got added when or where.

The list can't be sorted alphabetically, by release or acquisition date, sub-genre or language. There's no language filter for the Foreign Language TV category either. You can search on "Japanese," except the language and genre tags aren't applied consistently enough to make that a reliable tool.

So Thus Spoke Kishibe Rohan (live action) initially ended up in Anime, and Ground Control to Psychoelectric Girl (anime) ended up in Foreign Language TV.

Tubu has New Release and Recently Added categories, but unlike Netflix, which trickles out new titles at a reasonable rate on a weekly basis and knows my preferences pretty well, Tubi just backs a dump truck up to the loading dock.

The better resource here is Reelgood, which lets you alphabetize, sort by release year, and country. But Reelgood is not always up to date, so searches will also display titles no longer on the service while missing recent additions.

Labels: anime, japanese culture, japanese tv, netflix, streaming, tubi

Netflix raised its rates. So I dropped Netflix. Though probably not permanently.

My price hike kicked in this month, which gave me time to finish Mitsuo Iso's brilliant Den-noh Coil and Orbital Children (what The Matrix and even Person of Interest coulda shoulda been), and finish season one of Eden's Zero.

The irony is that once a streaming service reaches a certain size, it encounters the same underlying problem with cable television that streaming was supposed to solve, namely the impetus to become a one-stop shop for everybody who walks through the door.

In order to get your specific something, you end up paying for everybody else's something too. On Netflix, that's 200 million somethings.

That gets expensive, though still not as expensive as cable. If you're looking for the broadest possible appeal, if all you want to do is sit down in front of the TV and watch something, anything, then Netflix is a great deal. It's cable without news and sports.

But if you know what you want to watch, then narrowing the options makes more sense. What streaming services need is a way of evaluating the signal-to-noise ratio. Unfortunately, what is a "signal" and what is "noise" is largely subjective.

In terms of the total number of titles I want to watch (the "signal"), Crunchyroll is the runaway winner, at half the cost of Netflix. But in terms of the pure signal-to-noise ratio, tiny HIDIVE comes out on top. And I'm only paying two bucks a month for HIDIVE.

As far as that goes, I'm not paying anything for Tubi. And speaking of Tubi, one option is to pair a premium service with an ad-supported tier.

Perhaps all premium streaming services will eventually pair up with an ad-supported tier to monetize the kind of long-tail material that once ended up on OTA subchannels like ION and MeTV. It looks like Disney Plus may be headed in that direction.

The caveat here is that the service has to invest in ad-server technology that brings the user experience in line with OTA television. Tubi's ad engine mostly accomplishes this. Crunchyroll's ads seemed designed to annoy you into getting a subscription.

So I wasn't surprised when Crunchyroll announced it was ending its ad-supported tier for debuting series starting with the Spring 2022 season.

But the one aspect of streaming that really beats the old cable model is the ability to create a virtual à la carte service using the serial subscriber approach.

On Netflix, I'm looking forward to the second seasons of SAC 2045 (coming in May), Ultraman, Komi Can't Communicate, Eden's Zero, and Godzilla Singular Point (if it ever gets the promised sequel), along with a couple of anime movies.

But in the meantime, it's simply not worth staying subscribed while I wait for them to show up someday.

So Netflix goes back on the carousel. Once enough content accumulates, I'll give the carousel a spin and sign up for a bout of bingeing. Netflix accommodates this approach and will keep a dormant account intact for up to ten months (as does dLibrary Japan).

I'm keeping HIDIVE. The merger of the Crunchyroll and Funimation catalogs makes Crunchyroll a fantastic deal, so I'll swap dLibrary Japan for Crunchyroll. Toss in Tubi and I still have more Japanese content than I have time to watch at a third the cost.

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Tubi update
The Fun is over
dLibrary Japan update

Labels: anime, business, crunchyroll, dlibjapan, hidive, japanese tv, netflix, streaming

A little over a year ago, Sony acquired Crunchyroll from WarnerMedia (a division of AT&T) for $1.175 billion. Sony already owned Funimation, so it was only a matter of time before they merged the two streaming services together.

That time has come, and Funimation content is moving to Crunchyroll. Crunchyroll has the most subscribers in the most markets and the largest catalog in the business, so it made sense to go forward under the Crunchyroll brand.

As of March 1, 2022, existing and new Crunchyroll subscribers will have access to library and simulcast content previously exclusive to Funimation. All new series from the upcoming Spring 2022 season will stream exclusively on Crunchyroll; Funimation will only continue to add new episodes of current series.

So Funimation is grandfathering existing series that are still adding episodes. Once they are finished, Funimation will be too, with its home video operations "eventually moving to the Crunchyroll brand internationally."

This is a welcome development. Having dropped Netflix (temporarily), I was thinking of subscribing to Funimation for a month or two to pick up a few exclusives. A quick check shows about half of them have already moved over.

Though given the size of the Funimation catalog, and that many titles will have to be re-encoded to convert the subtitles, the move may take several months. Plus Funimation is still adding contractual content through the rest of March.

Like Netflix, Crunchyroll uses embedded subtitles, which are vastly superior (aesthetically) to the closed captions that Funimation used and HIDIVE still does (though some people do prefer closed captions along with the dub).

Of course, the other big question is how this will affect the price of the service. Now may be the best time to lock in a Crunchyroll subscription. For the time being, a yearly subscription is a little less than half the cost of Netflix (HD).

Labels: anime, business, crunchyroll, funimation, hidive, japanese tv, netflix, sony, streaming