Ask John: Why Are Many Mainstream Japanese Hits Not Popular in America?

Question:
I read your recent article in on Crayon Shinchan, and it got me thinking about why certain anime are not popular in the US that are extremely popular in Japan. Why are “Kochikame” or Golgo 13, or Jojo’s Bizarre Adventure, or Osamu Tezuka classics like Hinotori or Black Jack not popular in the US? Your previous answer regarding Crayon Shinchan explained how that show was a Japanese-tailored show created for children, but the stories I mentioned have a huge appeal and fanbase among a wide age range.

I can’t help but to notice how, in the US, there seems to be an incredible intolerance toward certain anime, and I am partially offended by anime fans because they claim to like animation from Japan yet limit themselves to disgustingly narrow tastes. To me, an anime fan claiming he likes anime but hating/being indifferent or unknowledgeable of obvious classics like Golgo 13 or Kochikame seems as blasphemous as someone who is an “all-movie” fan that hates/has never heard of Kurosawa or Indiana Jones.

Answer:
Anime and manga titles including Kochikame, Golgo 13, Jojo’s Bizarre Adventure, Phoenix, and Black Jack are all immensely popular and successful in Japan. To be more specific, their degree of longevity and success suggests that they are iconic, mainstream hits in Japan whose popularity extends outside just Japan’s “otaku” community. Kochira Kameari Kouenmae Hashutsujo (“Kochikame”) has never been officially released in America, and even within the American fan community it’s virtually unknown. But all of the other titles you’ve cited have been officially released in America, yet none of them have ever become major hits. I believe that their success in Japan and obscurity in America has two explanations. First, these titles simply appeal more to Japanese viewers than to Americans. Second, I don’t think that Americans are ready to accept certain types of anime yet.

Titles like Kochikame, Phoenix, and Black Jack are relatively conventional dramas. I don’t mean to imply that these stories aren’t interesting; I only mean that they don’t have sensational novel characteristics that would attract American viewers. Fantasy, sci-fi, romance and adventure anime are popular in America, but straightforward dramas typically aren’t. Furthermore, these types of shows don’t feature attractive young characters that American viewers can admire. In the same way that Japanese viewers may not apprehend the appeal of typical American sitcoms or dramas that are very popular in American households, Americans don’t typically comprehend the appeal of Japanese anime dramas. It’s said that Japanese television viewers like programs which make them feel as though they’re part of a gathering of friends. That may be why so many Japanese television programs consist of Japanese TV personalities and celebrities just relaxing, talking and joking with each other. Programs like Kochikame and Black Jack may appeal to mainstream Japanese audiences because characters like Ryotsu and Black Jack feel more like family friends than fictional characters. The same rationale also applies to Japanese hit anime including One Piece and Pocket Monster. These types of stories appeal to the Japanese frame of mind, which is different from typical American social psychology.

As I mentioned in a recent analysis of the minimal American interest in Crayon Shin-chan, American anime fans typically gravitate toward certain styles of anime, and away from others, because certain types of anime fulfill the psychological needs of American viewers while others do not. Anime has existed in Japan for fifty years. Generations of Japanese natives have grown up with anime, and grown up with the Japanese cultural acceptance of animation as a form of cinematic literature. That’s not the case in America. American society has only recently begun to recognize and accept the ability of animation to illustrate mature, literate fiction. I believe that the majority of America’s anime fan community simply hasn’t matured enough to fully accept anime yet. While Americans are now far more receptive of titles that adhere to our expectations of anime, Americans still harbor extreme stereotypes and inhibitions about anime. Many American fans refuse to watch Pokemon on principle, not realizing that their principle is actually an insular stereotype. Many American anime fans refuse to watch Pokemon because they call it a kids’ show. But the fact that Pokemon is a children’s show has nothing to do with whether or not it’s good or enjoyable. Likewise I suspect that many American anime fans aren’t interested in Black Jack, Golgo 13, Doraemon, Galaxy Express 999 or Jojo’s Bizarre Adventures, not based on the quality of the titles themselves, but only because these titles don’t fit into the predetermined, narrowly defined categories of anime deemed worthy of attention. I suspect that although the average American anime fan probably doesn’t consciously realize it, the average American fan concludes that Golgo 13 and Black Jack and Galaxy Express and Pokemon are too childish or too old or too different or just not interesting before even watching the shows or reading the manga. I think that the majority of America’s anime fan community jumps to conclusions about particular anime and particular types of anime without even consciously realizing that they’re doing so. Maturity and experience lead to a desire to expand one’s tastes and knowledge. I think that as the American anime fan community matures, it will progressively become more experienced, knowledgeable, and more curious about anime titles and types of anime that have been overlooked or previously intentionally ignored.

I’ve said for many years that I don’t believe it’s entirely appropriate for someone to refer to him or herself as an anime fan if he or she is only willing to watch narrow fields of anime and disregard significant genres and styles of anime. To rephrase your analogy, being an anime fan but having no interest in titles like Kochikame, Sazae-san, Ojarumaru, Atashinchi, and Doraemon is like claiming to be a movie buff but refusing to watch European movies. Someone that stares in only one direction cannot viably claim to see everything. But such a person can expand his or her field of vision. I think that when a person becomes complacent with a single view, it’s natural to develop a desire to expand the field of vision. There are some American anime fans that already seek out the widest range of anime available to them. But the majority of America’s anime fans seem to be still focused on, obsessed with, a single range of anime. These fans haven’t become interested in exploring the full scope of Japanese animation and manga yet because they’re still so captivated by what’s directly in front of them. With time, experience, and increasing exposure to anime, I believe that American interest in anime will continue to expand and envelope types of anime that are presently often excluded.