Ask John: Do Japanese Licensors Stipulate the Way Anime is Released Internationally?

Question:
I’ve seen recently some uproar among anime fans all over the world about the Americanization of licensed anime and manga, especially when the release of the Tenjou Tenge manga seemed to be the maximum insult to Japanese legitimate art with very notable censored editing. Now some of us are fearful that similar publications like Gantz will share the same destiny. Don’t Japanese publishers put restrictions when they are going to make arrangements for an American license? For example, alteration of artwork?

Answer:
Considering the amount of censoring and editing that’s been imposed on anime and manga released in America over the years, it seems obvious that Japanese licensors are often quite flexible in allowing international distributors to make alterations that they see fit. But it’s important to keep in mind that even though Japanese creators may own their creations, the publication and distribution of these creations are usually handled by people beside the original creators. For example, when DC Comics acquired translation rights to the Tenjho Tenge manga, they probably didn’t negotiate that translation agreement with creator Oh Great! personally. They negotiated a publishing deal with Shueisha, the Japanese publishing company that prints the TenTen manga. A major Japanese publisher is probably much more interested in profiting from international distribution than in confirming that the artistic credibility of a Japanese comic series is retained for American readers. There’s almost no way for average American anime fans to know for certain how much awareness or control over international distribution of their works Japanese creators actually have. The edits made to the American versions of the Tenjho Tenge and I”s manga, according to their domestic publishers, were made with the Japanese creators’ approval. It’s possible that creators Oh Great! and Masakazu Katsura personally approved every single change in the American releases of their manga. It’s also possible that they were just asked whether or not they would allow an American publisher to make whatever alterations the American publishers deemed necessary. Or it’s reasonable for a Japanese manga creator seeking a wider audience to agree that an edited international release may be a necessary compromise, or may believe that edits will make hi/her work more suitable for international readers.

When individual creators are directly involved in the licensing process, it’s not uncommon for them to request that their works be handled in a particular way. But most anime and manga are licensed through Japanese publishers or distributors. It’s a well known fact that director Hayao Miyazaki stipulated that he would only agree to Disney licensing Studio Ghibli films if Disney agreed not to edit or censor them. Likewise it’s a well known fact that manga artist Hiroaki Samura requested that his Mugen no Jyuunin (Blade of the Immortal) manga series not be “flipped” for its American release. But most of the time it seems to be rare for Japanese licensors to make extensive requests over the way anime is released in America. AD Vision frequently states that its Japanese licensors request the use of original American series logos on American video releases, although, oddly, no other American licensor seems to encounter the same consistent Japanese insistence for American logos. Pioneer/Geneon was obligated to release a digitally edited version of the second Lupin the Third television series in America. And likewise Bandai released a digitally “updated” version of the Mobile Suit Gundam TV series in America at the request of the Japanese licensor. But speaking from experience, I can confirm that Japanese licensors made no demands on AN Entertainment to edit or alter either Risky Safety nor Miami Guns for their American DVD releases.

The frequency and extent of Japanese licensors placing restrictions or demands on the way anime is released in America clearly varies. In most cases, Japanese licensors seem to be flexible on the way anime is released in America, and seem to allow American distributors to use their own judgment in tailoring anime for American release. But I want to reiterate that in most cases, anime is licensed for international distribution through major Japanese publishers, not directly from actual artists or creators. The primary goal of Japanese publishers is to see that anime and manga earn a profit. It’s not the primary function of Japanese publishers to preserve the artistic integrity of anime and manga. To varying degrees original artists may make such requests. And, to the relief of many American anime fans, most American anime distribution companies also take care to consider the artistic integrity of the manga and anime they license, translate and distribute.