Code Geass and One Piece Film: Red director Goro Taniguchi Held Talk Over Anime’s Globalisation
Code Geass and One Piece Film: Red: In the interview held in the press at Anime Expo, the Code Geass and One Piece Film: Red named Goro Taniguchi worries about anime’s globalization amid increasingly diverse audiences. Goro Taniguchi, the director of anime like Code Geass and One Piece Film: Red, isn’t worried about anime becoming popular globally. In an interview with CBR, Taniguchi said he never limited his work to just Japan and is excited to share anime with diverse audiences. Taniguchi’s views are echoed by Junichi Yamamoto, another anime director. He mentioned attending events like the Anime Expo and seeing fans from all over the world enjoying anime. Both directors believe anime has always been made with global audiences in mind. In a previous interview with Full Frontal, Taniguchi expressed pride in making anime like Planetes with multicultural appeal. His new series, Enter the Garden, is another example of anime reaching a global audience. It’s inspired by the world of Azuki, created by an American company.
A Short Note on Anime’s Globalisation
Anime globalization is evident in numerous instances within the industry. Collaborative projects such as “Enter the Garden,” which draws inspiration from international sources like Azuki, showcase the industry’s openness to global partnerships. Streaming platforms like Crunchyroll influence adaptation choices, as seen with their involvement in producing “Solo Leveling,” a series with a strong international following. Data from platforms like MyAnimeList indicates significant overseas viewership for popular anime like “Naruto” and “Solo Leveling,” highlighting the global appeal of the medium. With approximately 50% of the anime industry’s income sourced from overseas markets, economic incentives further drive creators and producers to cater to international audiences. Additionally, efforts to include diverse cultural representations in anime, as seen in series like “Witch Hat Atelier,” reflect a response to feedback and preferences from global viewers, showcasing the evolving relationship between anime and its worldwide audience. Over the past 50 years, anime has experienced explosive growth in production and distribution, leading to its global popularity. Despite misconceptions labelling anime as trivial or juvenile, its widespread presence worldwide, particularly in the United States, reflects its status as a transcultural force. The international appeal of anime can be attributed not only to its creators but also to its dedicated fanbase. This popularity is fueled by the increasing demand from international audiences, with countries like the United States, Germany, Italy, Brazil, and Russia being major importers of anime. Emerging technologies and active fan communities play a significant role in spreading anime globally. Additionally, anime’s intentionally culturally odourless design, characterized by characters lacking distinct cultural or national traits, contributes to its localization across different audience identities. The globalization of anime involves collaboration between Japanese and Western industries, with U.S. distribution companies often adapting anime to suit English-speaking audiences through voice casts, content censorship, and product placement. Ultimately, anime’s success relies heavily on international sales, prompting studios to develop a distinctive anime database of elements ranging from animation styles to character archetypes.
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