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EDITORIAL


One question we are frequently asked by American fans is "Why doesn't my local Japanese video store carry tapes of anime TV shows anymore?" We have addressed this question in the letters page of a previous issue, but it is only part of a small change taking place in the anime industry in Japan. The short version is that the Japanese government cracked down on all these places renting tapes of off-air TV shows. Or at least, anime. First the rental prices increased to cover a government-induced tax on these tapes, and then, in most places, the selection withered and died off completely. And yet, other genres, such as game shows and dramas, remained unaffected.
  Meanwhile, in Japan, satellite television is attempting to strengthen its foothold. Many services are attempting to lure viewers with "anime channels." And when this started a little over a year ago, these channels were content to rebroadcast old favorites, such as MAISON IKKOKU or SLAYERS. But now these premium channels are getting original, first-run programming. For example, the cable network WOWOW is broadcasting the new Tomino show, BRAINPOWERD, while Anime Theater X has NAZCA.
  And the reason is, of course, money. Regular television is "free." But subscribers pay to get these satellite channels. Which of course translates into more money for the show. And, since not everyone has satellite television, having first-run shows only on satellite almost guarantees an increase in rentals when these shows arrive in video stores. Fans, it seems, are being forced to pay to see these shows in one way or another.
  Another telling sign is the increasing number of anime slated for late-night time slots. While this may certainly allow for "more mature stories" to be told, this too could be considered a matter of money. These late (or early, depending on your point of view) time slots are certainly much cheaper than a much more visible (and highly watched) time period. As a result, the potential number of viewers is decreased, reduced to fans who are willing to give up sleep (or know how to set their VCRs), and insomniacs who are channel-surfing. None of these groups is a significant portion of the population, unfortunately.
  Ironically, though, the satellite and late-night anime trends seem to be having a beneficial effect for some lucky American (and Japanese) fans. Shows are now released to video more quickly than ever before. In many cases, even before the show ends, like OUTLAW STAR. There are many reasons for this, and among them are the mystical and complicated reasons of marketing, but it can be boiled down to this: Get the show out on sale while it's still hot enough to be featured in NEWTYPE or ANIMAGE. Because, while some shows become titanic juggernauts that wander through time seemingly immune to waning popularity, many shows have an increasingly shorter shelf life. And while the anime airwaves may be thinning, video shelves are even more crowded than ever.
  Anime is an industry, so it must make money in order to survive. Lately, that means having to reevaluate how things are done and trying new and different approaches. By removing the general television-watching public from the equation, the industry could be placing an unrealistic financial burden on the die-hard anime fans. If the number of fans doesn't grow, then the number of shows they can support won't grow either.
  While it does not look like anime on television in Japan is an endangered species, it certainly seems that most companies are putting their hopes of money-making into video rentals and sales. Not a new trend, just an old one reoccurring, like Godzilla surfacing in Tokyo Bay. Let's just hope that, unlike the most recent incarnation of everyone's favorite radioactive monster, this trend doesn't have offspring!

  Ex animo,

  Charles McCarter
  Publisher/Editor in Chief


THE EX MEN

PUBLISHER / EDITOR IN CHIEF
Charles McCarter

ASSISTANT PUBLISHER / DESIGN EDITOR
Keith Rhee

ASSISTANT PUBLISHER / DESIGN EDITOR
Chris Kohler

ORGANIZATIONAL CONSULTANT
Chad Kime

COPY EDITORS
Peter Cahill
Roderick Lee
Charles McCarter
Ben Nunez

STAFF WRITERS
Peter Cahill
Eugene Cheng
Eri Izawa
Mark Johnson
Roderick Lee
Eric "Scanner" Luce
Egan Loo
Charles McCarter
Maria M. Rider
Keith Rhee
Ivevei Upatkoon

PRODUCTION STAFF
Geir Friestad
Chris Kohler
Tom Larsen
Eugene Moon
Keith Rhee

CONTRIBUTING WRITERS
Scott Frazier
Chad Kime
Dickinson Lo
Eugene Moon
Rika Takahashi

SPJA SITE ADMINISTRATOR
Eric "Scanner" Luce

SPECIAL THANKS TO
Objective Consulting Inc.

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