Ask John: Why Do Foreigners Resent the Existence of Certain Types of Anime?

Question:
Why do non-Japanese people complain about what anime and manga is produced in Japan for domestic consumption? I mean, I could understand if the complaining focused on what got licensed for release in their native region. But one thing I never understood is why many of my fellow non-Japanese fans so venomously criticize the mere existence of certain types of properties, such as Clannad or KissxSis, that have certain themes or cater to the otaku audience when they were never intended for their eyes in the first place and the main way they might be exposed to them would be through illegal methods?

Answer:
Anyone that observes the international anime fan community closely, or for any length of time, will inevitably notice that international, and especially American anime fans do have a tendency to complain about the prevalence of particular genres of anime. Americans complain that there’s too much Lolita anime; that there’s too many dating simulation game adaptations; too many harem anime; too many shonen fighting shows; too much moe anime. But ironically despite all the clamor for more variety and more unique anime, American fans typically don’t embrace unique and unusual anime. Despite bemoaning the prevalence of popular genres; it’s those genres which receive the most support from American viewers and consumers. But that’s really a different topic.

International fans express displeasure over the variety – or perceived lack thereof – of anime because they feel a personal affinity with anime, a sense of possession. Hardcore American anime fans are devoted to anime, so they feel betrayed or at least mildly annoyed when anime seemingly refuses to acknowledge their tastes and their devotion. International – especially American – anime fans have developed an unconscious impression that anime should respect and reflect their interests because they’ve been encouraged to partially forget that anime is a Japanese art that foreigners are invited to appreciate. It’s both the anime distribution industry and fans themselves who are responsible for this evolved perspective.

International commercial anime distribution has always primarily tried to eliminate the Japanese nature of Japanese animation. Dubbing removes the most obvious signifying Japanese characteristic of anime. Anime has traditionally been censored and edited to match the conventional expectations of the countries it’s released in. International viewers have been steadily trained to perceive anime as not Japanese art that foreigners are given access to, but rather as an international entertainment medium which happens to originate in Japan. In effect, international anime fans rationally know that anime is Japanese art, but they don’t feel that anime is Japanese art, and they often don’t respect anime as Japanese art.

In the early days of fansubbing the majority of the world’s English speaking fan translators translated anime because they wanted to expose viewers to Japanese animation. The goal of fansubbing was to bring attention and respect to an under appreciated and little known form of Japanese entertainment. However, as fansubbing because easier and faster to accomplish, and new generations of fans entered the hobby after being encouraged by commercial releases to perceive anime as a mere commercial entertainment product and not a cultural import, the focus of fansubbing shifted from the anime to the translator. While fansubs from the VHS era were intended to promote anime, fansubs from the contemporary digital era are frequently designed to promote the translators. Fansubbing has widely become a game of one-upmanship revolving around who can quickly provide anime tailored to international viewers.

Japan’s anime industry has also made some attempt to tailor anime to international viewers. Many of the best selling anime titles ever released in America have been titles specifically designed to be accessible to American viewers: Afro Samurai, The AniMatrix, Vampire Hunter D: Bloodlust, Final Fantasy VII: Advent Children. While I can’t blame the Japanese industry for wishing to expand its audience internationally and diversify its production methods with international input, these international productions have a side-effect of encouraging American viewers to expect anime to appeal to their tastes and interests.

Over a span of years, the influence of commercial anime distribution that emphasizes “Americanizing” anime through editing & dubbing, the fansub community’s obsession with using anime as a vehicle of personal expression, and the anime industry’s own efforts to turn anime into an international commodity have weakened the international perception that anime is a Japanese art that foreigners merely borrow or observe. For better or worse, the evolution of anime and its international perception is probably now irreversible. Anime is simply so familiar and personal for many international fans now that they react with their own impressions instinctively and unconsciously. Fans that dislike dating simulation anime, or who have previously watched numerous dating sim anime, react to more dating sim anime from their own experience and conditioning instead of appreciating the fact that more dating sim anime exists because its intended Japanese audience is interested in it. International fans that prefer certain types of anime unconsciously apply their own morals and biases to anime – complaining about incest or Lolicon themes, or genres that they’re uninterested in. These fans have become so used to anime, and so possessive of anime that despite consciously knowing that anime is made by Japanese artists for Japanese viewers, they unconsciously react to anime with their own perspectives, desires, and prejudices.