Crawling up off the floor and nursing hangovers, the staff of Colony Drop gathered in the staff room this New Year’s to discuss a proposed year-end wrap up article: “The Best Japanese Cartoons of 2008!” It’s been a bad year for fans of mildly intelligent cartoons for people who lack a taste for little girls, it’s true, but surely, we thought, we can find four or five good titles to write a countdown about!
That didn’t work out. In fact, we’ve decided that 1988 was a far better year for Japanese animation. I mean, Patlabor: The Mobile Police, Dominion: Tank Police, My Neighbor Totoro, Char’s Counterattack, Sakigake! Otokojuku, Akira… We could go on all day. And we will.
So maybe this year was a bust for genuinely interesting Japanese cartoons. On the upside, the Japanese cartoon industry has been far more interesting. Japanese studios have begun providing same-day subtitled episodes of their TV cartoons for digital purchase or streaming, a group of unrepentant bootleggers are on their way to become the premier online distributors, Funimation has continued their maniacal plans to dominate the entire North American japtoons DVD market, and Vertical Inc. failed to go bankrupt. So, while we can’t in good conscience recommend many particular cartoons from this year, we sure can reminisce about some of the media highlights. Here are our Favorite Japtoon Moments of 2008:
You’d think that for all the bitching the US anime industry does about fansubs, not to mention the fact that most companies over there are on the verge of bankruptcy, maybe they should have gone after the bootlegging pirates otherwise known as Crunchyroll. But instead of taking those bastards to court for making a profit off unlicensed fansubs and illegal downloads of commercially available releases, they hop into bed with them and ask their vice president to give the keynote address at Anime Expo 2008.
Crunchyroll, for those of you not aware, provides (until January 8th) both fansubs and legit US releases for web streaming to their membership of internet freeloaders. Access to unpaid members is limited, but paying gets you better service and thusly they made money (and paid staff) by selling access to programs they had absolutely no rights to. Anime News Network briefly redeemed itself after years of mediocrity by conducting an almost-scathing interview with one of the co-founders of Crunchyroll, worth reading for the fact that it does a great job showing you that Crunchyroll is run by a bunch of unethical slimeballs who refuse to answer any serious questions about their hilariously unethical business model.
If there was a single event that showed the complete ineptitude of the US anime industry and drove home the fact that they maybe deserve this terrible industry collapse they’ve found themselves in the middle of, then climbing into bed with these criminals is probably it. In a world where the RIAA sues 70-year old women for downloading music you’d think that the jerks behind Crunchyroll would end up in jail or at least forced to pay out the nose, but instead they’ve been rewarded by the industry with legitimate contracts and heralded as a new leader in the future of anime distribution.
So it’s not quite a definitive “event” per se, a small discrepancy since nearly every release by this small alternative publisher should be considered an event.
Vertical Inc. specializes in the localization and publishing of Japanese titles, of which manga is only one section. Vertical’s manga releases are not prolific, but in a rock-paper-scissors match it’s fair to say impeccable taste beats out logistical supremacy (that was a direct subliminal directed towards Tokyopop).
At first glance their manga selection looks like a vanity press for Osamu Tezuka. Well, so what? Dororo might be shaky, prototypical and unfinished, but Ode to Kirihito, Black Jack and Buddha are intelligent, massively polished comics and Apollo’s Song is, uh, something. Keiko Takemiya and Ryu Mitsuse’s Andromeda Stories is mindboggling and neigh-incomprehensible, but always in that best of Fifth Element ways; the story has its own life and direction and the reader is just along from the ride. I don’t think I’ve ever used the adjective “mindboggling” to describe anything published by Tokyopop or CMX, except perhaps in the adverbial derivative “mind-bogglingly terrible/disappointing/offensive.”
Recently faint murmurs arose about a possible demise of Vertical’s manga division or the company altogether. A Vertical representative’s New York Anime Fest comments, said in reaction to poor sales figures for their manga selection, that manga readers would be better off looking for scanlations rather than waiting for Vertical releases, seemed as good as circumstantial evidence can get.
But the Black Jack volumes continue to trickle out. Let’s hope it continues to be so.
Wonderfest is one of the more amusing Japanese cartoon fan events, where minor model-and-toy manufacturers (and occasionally hobbyists) design limited run unofficial slutty figurines and models (sometimes called “garage kits") and sell them. Like with Comic Market, the big names often advertise their planned merchandise far in advance, and there’s frequently far more demand than supply. This creates an incredibly predictable phenomenon, much like American Consumerism’s Black Friday, where the popular tables are rushed and limited edition merchandise is sold out within minutes as waves of smelly, sweaty man-children stream through the building. Now, guess what happens when you get dozens of fat nerds crowding an escalator, lusting after their moé figurines of scantily-clad little girls (and the occasional robot)? Why, you get the up escalator at the event center failing under their weight, slowly sinking back downward and injuring about a dozen dumb nerds in the process! Apparently fearing that it could happen again, the Winter 2009 Wonderfest was cancelled while they figure out why the escalator failed.
There you have it - Japtoon fandom, 2008.
Anime fandom and Cartoon Network have had a long, rocky history, from that kid you knew ten years ago who wouldn’t shut up about Dragon Ball Z and Gundam Wing on Toonami to that kid you know now who won’t shut up about Inuyasha on Adult Swim, even though they cancelled it. In these days a lot of the fun was simple fan outrage: seeing what terrible violence these barbarian, Western invaders had inflicted on our sweet, innocent, and glorious Nipponese drawing-motion-features.
Anime fans have a history of dealing with their shows getting chopped up, and they’re so used to it that one guy even took it upon himself to catalog every single edit made to a Japanese cartoon aired on US TV. Often series really were worked over past recognition– remember Escaflowne’s hilarious, gutted run on Fox Kids?– but they were usually just defanged to the level of a domestic kids’ cartoon. Child-psychologist-friendly edits like “destroy” instead of “kill” in the dialogue, MSPainted bikinis over naked girls, and laser guns instead of the kind we use in the real world were the orders of the day.
Edits like these were particularly insulting to the older fans, who, as ever, forgot they were watching something targeted to ten-year-old American children and their oversensitive parents. From here, the common fan belief that Western licensors– first TV broadcasters, but eventually widening to DVD distributors as entitled kids started to come in the fandom from digital fansubs– were out to destroy anime. The insidious plan was to undermine, via editing, the mature, adult storytelling of Sailor Moon and DBZ, thus fooling the lay citizenry into thinking that anime was not directly from Japan, rather predictable, and most certainly kids’ stuff. This would make them, in turn, stinking rich. (Japanese animation, on the other hand, was not made to make money, but only to generate love from people on internet message boards.)
Enter Adult Swim. When the people at Williams Street met their shrill, terrible fanbase, they knew just what to do. Defying all business logic, Adult Swim has been pranking, belittling, and generally fucking around with anime fans since they started running the stuff. Who could forget Swimcon, or the April Fool’s gags? But what started with light ribbing eventually turned bitter, as AS made a habit of openly whining about their ratings– specifically for under-performing anime– during commercial breaks and slowly began to move anime out of the schedule in favor of in-house projects to which they actually owned the merchandising rights.
This came to a head when, without warning, Adult Swim moved the well-performing Code Geass and Moribito, which was already dead to the AS fan crowd, to graveyard shift night slots. Reruns of popular shows (anime included) were getting run twice, every night, and the two new anime, one of which was actually quite successful, were put out to die for no apparent reason. Or were they– killed?
It all comes together now. The conspiracy theories were true all along. Adult Swim didn’t just kill anime on September 11th, 2008, it took an American-made rocket launcher to Japan’s honorable samurai katana duel and it destroyed Japan. Baka! Baaaaka! How could we not have seen this coming?
(A postscript: Geass was moved back to the still-pretty-terrible 2AM slot back in November. The nation of Japan was presumably beamed back into existence.)
I was wondering something. Can you guys give me some context on a statement like “[2008 was] a bust for genuinely interesting Japanese cartoons"? Did you watch Kaiba and Mouryou no Hako? Are you watching Casshern Sins and Xam’d: Lost Memories?
If Vertical stops publishing Black Jack I will cry. Although on the upside, Tezuka Productions will supposedly be putting every single one of his manga and anime online for free. Even if you can’t read Japanese that’s pretty great news.
And I know it just wouldn’t be Colony Drop if you were talking about a bunch of new anime but come on there was some good stuff this year. What about Xam’d? Time of Eve? Ponyo? Detroit Metal City? Tytania? You just have to pretend that crap like Strike Witches was never made.
By my count we’ve favorably reviewed three anime titles from 2008 (four, if you count Jeff’s impressions on the first few episodes of Xam’d, from way back in summer).
Ponyo would have been my pick, had we gone that route.
I can’t say I was particularly pleased with ANN’s Crunchyroll interview, actually. While it did get across just how dubious an outfit Cr is, it was at the same time a good example of ANN’s failure to separate editorial/opinion content from more objective news.
Granted, objectivity is probably an unattainable ideal, but it would be nice to see ANN, which obviously wants to be seen as a professional company, getting a bit closer to it. And some concessions in that direction wouldn’t have harmed the interview: the facts about Crunchyroll speak for themselves.
The funny part is that the original concept for this article was to be a standard Best Series of 2008 post. Since the idea seemed a bit stale, we went with this more abstract one.
The tally of favorable reactions to negative ones for 2008 is probably skewed at this point since we try not to review a series unless it’s been finished and watched from start to finish.
Xam’d for example is more or less the bee’s knees for most of CD, but of course it’s still going. Same thing with Eve and Casshern Sins. Incidentally two out of three of those are Net-distributed series.
Kaiba was received positively–certainly a worthy successor to Kemonozume for Yuasa and Madhouse’s A-team.
Casshern Sins and Tytania were both touched on in our previews/first impressions article for Fall ‘08. Personally, I like Casshern, though several CD correspondents wish Madhouse had gone to the trouble of animating the show outside of the fights. Despite my seeming uncertainty about Tytania, I welcome it, if only because I would have liked another LoGH OAV series even better.
We’re tsundere for anime is what it is, guys.
I too agree that ANN’s interview with Crunchyroll did not go far enough, and it’s kind of sad that they are the only industry source that bothered even trying to call out CR. What’s funny is that fan reaction to that interview was very negative, saying that they should have played it even softer than they did. People would rather let their free-anime website run than find out anything about it. I still refuse to use them, and that’s gotten tough, as they are running both Harlock and 999.
As for ANN’s professionalism, they kind of run the gamut from ridiculously fannish reviews where the work is docked substantially for not agreeing with the reviewer’s politics to pieces that look like they were bought by the big anime companies. To say the least, I’ve learned to be wary of their content.
You guys forgot to mention that Cartoon Network tried to kill anime on a totally DIFFERENT September 11th, in 2001, when they suddenly decided that Mobile Suit Gundam (you know, First Gundam) was too x-treme for American audiences. In their defense, they did try to run the series again at night, but it got cancelled again, and as a kind of booby prize they showed all of Char’s Counterattack (which was kind of ironic, considering they were careful not to “spoil” who won the One Year War when doing 08th MS Team by omitting the last (and strangely, totally unimportant) episode.
9/11 never forget anime ;_;
Yeah, this was called Anime Moments of 2008, not 2001.
What scumbags Crunchyroll are. Now this week, they tried to rope the most hard core of hardcore with GE999 and Harlock, using CornPone scripts and Korean subtitles, ALL STOLEN SUBS.
As a professional translator, paying CR is taking money out of MY pocket, and other translators who subbed it out of sheer love for the series, to share with others who don’t speak Japanese.
Why pay these thieves? Your an idiot if you do, without exception.
Thanks for reminding me why a Leiji Matsumoto fan like myself won’t pay those jokers a dime. A bunch of rich, spoiled brats, is all- I hope they all choke.
I just went and skimmed the first episode of both Toei’s and Corn Pone’s Harlock scripts, and they definitely are not the same translation.
Oh come now, let’s not let FACTS get in the way of a good fan complaint!
thanks for your useless 5-year old kid argument, dave. CR still STEALS and are THIEVES and literally take MONEY out of PROFESSIONAL TRANSLATORS POCKETS. The more you support trust fund babies like them, the less chance you have to see anything other than kiddie porn moe stuff released in the US and Europe.
First off, which Dave are you talking to?
Second, none of us at Colony Drop believe Crunchyroll should be given a single red cent. Quite the opposite — that’s why we’re so pissed that somehow these bootleggers have convinced the rights-holders to give them the Internet broadcast rights to quality Japanese cartoons. All Colony Drop’s Dave is saying is that, in this case they do not appear to be using fansub scripts. It’s well-known that until this month, Crunchyroll regularly posted fansubs on their “donation-supported” website, but now they’re claiming to be on the up-and-up. big guy, if you can provide verifiable evidence that they are still using unofficial translated scripts, we’d love to see it. Until then, let’s stick to bashing Crunchyroll for crimes we can prove, alright?
Well, first off, I don’t fucking own Captain Harlock and am not employed by the Copyright Police to enforce copyright on shit I don’t own.
Secondly, I don’t give a shit what Crunchyroll does or does not do, what they own or don’t own, what deals they’ve made or have not made. I wouldn’t even know what the fuck Crunchyroll WAS if it wasn’t for anime fans whining about them. Keep it up guys, I think we’re winning.
Thirdly, I am really amused by the “LITERALLY TAKES MONEY OUT OF PROFESSIONAL TRANSLATOR’S POCKETS” line. Do you actually know what “literally” means? Was one of those Crunchyroll dudes pickpocketing Neil Nadelman? Next time I see him I’m going to stick my hand in his pants and say HEY I’M CRUNCHYROLL LITERALLY TAKING MONEY OUT OF PROFESSIONAL TRANSLATOR’S POCKETS! It’ll be a riot.
first off, my comment was directed towards Dave [member] not Dave Merrill. whatever.
Second, it’s very easy to take a fansub and re-word the dialogue to make it “legally different.” I’ve had my own work stolen three times before by publishers who solicited my services for a translation, didn’t want to pay, and then saw my fansub, and took it word for word and used it for their own products, or changed a few words so that it would be “their own". Due to this I no longer comment or participate with internet forums. This was almost ten years ago now. Now I am reminded WHY I don’t participate in language or anime forums - because some people feel because they’re in their 40’s or been a fan longer than others, THEIR opinion is more valid than others who are newer, younger, etc. Or maybe it’s just the old boys fraternity system like in college. Just because you have a blog or write for one doesn’t make you better than anyone else.
D.Merrill, I have a lot of respect for your blog, but don’t be an internet name dropping douche. with your eagle claws out. Only fat basement babies play the “I know english, capitalization, and diction better than you” game, and I know you’re far, far better than that. Put your gun back in its holster, mate.
“Put your gun back in its holster, mate.”
Pot? It’s kettle. We need to talk.
Hey. Matt of Corn Pone Flicks here. I have no earthly idea if these Crunchyroll people are using my subs of Harlock or not-I never even heard of them before yesterday. Either way, however, I DON’T CARE. They did not “steal” my subs, because I don’t own them in the first place. I always intended them to be given out to whomever wanted them. Since I’ve long since stopped distributing them myself, all this means is that people no longer write to me whining about why I quit, so it’s a victory as far as I’m concerned.
And two, are actual English professors included in the category of the “fat basement babies” who have the nerve to value actual knowledge over the masses of LOLing idiots that comprise 99% of the Internet? Don’t worry; they have nothing to fear. There’s no shortage of advocates ready to rush to defend their right to be ignorant in adulthood of things we teach to eight-year-olds.