If we go back hundred years and then some in time, we would enter a world we’d recognize but would hardly be able to properly function in. Your own nation would have drastically different culture, ideologies and ways of doing things, and other cultures would be that much more alien as the global cross-pollination would still be curbed by the lack of fast connections. Though we can intellectually say that things were like this or that people thought like that based on books and documentation from that era, otherwise we can barely relate to them. We can’t interact with the past. The same applies to the future as well, but even more so. The present is steel in a forge, constantly being heated to its proper temperature. Human actions are the hammer blows that shape the metal into its proper form, but only after quenching and polishing, we can see what are the results. We might have a plan or intentions, but sometimes those don’t serve us. Other times we’re played like a fiddle by some unseen hand directing us towards something peculiar, like how the recent military coup in Burma, also called Myanmar, took place. Some people see and know what’s going to happen, while the rest have to wait and see until it’s presented to us. By that time, the showcase is over. Future generations will look back to this era the same way we see the past through coloured lenses and read the words of the victor.
If we extend the time span, we’re are being removed from pretty much everything we know. The man of now, be it in the 1800s or present, always considers themselves to be at the cutting edge of science and progress, that this is the best spot. Fifty years from now there will be people thinking the same way and wondering how backwards we were at the change of the millennium. Science probably has taken steps we barely have an inkling about currently, with social and cultural structures have seen a change. Future historians can make educated guesses where all this is going, but that’s all it is. Ask a future historian five years ago if the world would experience a massive scare in form of a global pandemic, and none of them has anything like that. Some of them probably would have guessed that an incoming depression would hit, but that was supposed to be around 2018. They weren’t quite right on the time, or for what reasons.
The concepts we have in our everyday life are magic. We can say we understand how, for example, Wi-Fi works with the signals and how they’re coded and encoded, but only in terms of This things exists. Very few truly understand what’s happening when wireless communication happens, or why. We can easily say that Wireless Fidelity is radio signals, and then expand that radio waves are a form of electromagnetic waves. This means it’s a wave with both electronic and magnetic component to it, meaning the signals are like light rays, except their wavelength is different. This is just going into what a radio signal is, and not even touching how information relies on through it. As a side note, it would be possible to “see” Wi-Fi waves if an organ or a device would have evolved or designed to see at that wavelength.
The Atomic Era and after saw a huge slew of science fiction making wild assumptions about the year 2000, which very few have come to pass. I’m still waiting for my atomic reactor powered flying cars. We have robots doing our jobs, but not in the manner of humaniform robots or androids, but rather as dedicated machines with specific types of arms and hands. General artificial intelligence was assumed to have been assembled already, but turns out making a sentient computer is harder than it seems like. Then again, in strict terms, the AI doesn’t even need to be sentient. It just has to appear to be so. However, we can’t fault science fiction writers for using the science they had in their present. You can’t use or invent what you don’t know is possible or could be done. Star Trek‘s communicators were a natural evolution of radio and wired phones. Nowadays, you can call anyone anywhere on the Earth, and probably on the orbit too, with your phone in your pocket. While teleportation has been deemed impossible, tests have shown otherwise. It’s just a matter of the scale of things and whether or not it would be feasible in the future, but progress has ways to make us surprised. After all, it was thought the world could only have three computers due to their massive size, but now that same phone you can call Frank is millions of times more capable in every aspect than those room-sized computers. Even the best guess based on the information they had then wasn’t exactly on the mark.
It helps if you’re a scientist of sorts when writing science fiction. You’d be in a better position to use that knowledge of how things work to take a few steps forwards. After all, once the reader picks up your book, you are in a silent agreement that this is fiction, and certain parts will be in the realm of impossibility. Even then, too many times the ideas people have supposed to be too fantastical have turned out to be possible. Then, of course, there’s the reverse or the Jurassic Park Effect. Michael Crichton did extensive research for the book, and for a short period in the 1980s, it was based on solid science and knowledge. Even the name of the Velociraptor was largely accurate for a whole year or two, before the species’ status, name and size were updated with further research. We also now know that dinosaurs had feathers of sorts, and have been able to determine some pigments from fossil remains. A few years back, a Texan scientist surmised that T-Rex probably didn’t even roar, but used similar closed-mouth communication we see in alligators and birds. So rather than a lion roar, it most likely had something akin to a deep, ground-shaking subsonic rumble. The whole issue of extracting DNA from amber sadly was also bunked when DNA’s half-life was confirmed, meaning even in the best condition a dinosaur’s DNA would have broken up in 6,8 million years. We’re a few millions of years too late to the party. Science fact of yesterday is science fiction of today.
Nevertheless, we can only base our ideas and guesses what is out there. Very few of us is making any progress on the scientific front, and even those who keep tabs on the latest news and research papers probably can’t even guess what’s the next technological revolution. Science fiction writers overall can’t really use what isn’t there. I keep using the Lensman series and some of the earlier Asimov’s works as examples where there are no computers. The way computers were in the 1950s and earlier don’t even begin to count in ways modern people understand what a computer is. Nevertheless, writers like Asimov and Clarke understood science to make use of it in an entertaining manner as well as discuss themes and concepts through their work. Larry Niven’s Ringworld novels are an example of an author going back to the work and making a sequel just to discuss how such a superstructure as Niven’s Ring could be possible. It points out how it can be made possible, but as it usually is with SF, not whether or not it is possible with our current understanding of materials and certain physics.
I’m sure you’re tired of me kicking this dead horse. However, the more I hear some unnamed contemporary SF writers aiming to write what follows “real science” while arguing that you shouldn’t elaborate, or even discuss, what isn’t possible seems cheating. Certainly, Star Trek Voyager made technobabble a sin in the eyes of hardcore SF fans. However, this is where that whole aforementioned point of having some kind of degree of science, or a deeper understanding of how things work steps in. Bad technobabble throws words in that sound scientific without any meaning. Good technobabble on the other hand does manage to make use of current concepts and take it a step further by asking the question What if… Then again, the highly technical speech itself sounds like technobabble, so the layman and general audience mostly put it as the tone of the work. It’s background noise, something that’s akin to the background music that’s making the beats. In the end, it doesn’t matter if the science or the depiction of vessels or beams is realistic and accurate as long as it serves the story. There’s no drama if we can’t see the lasers shot, or if a crew member is thrown back when using a phaser. While some viewers will complain that Star Trek and similar works are unrealistic how they depict their science and mechanics, the layman often retorts that how that’s a given; it’s television, none of it is real.
It is disingenuous to call any work of SF, like Star Trek, a work of fantasy based on its elements not being possible, at least in terms of the current understanding of how things work. The whole What If… plays an important role in one of Asimov’s best works, Gold. Asimov was dared to write a story with plutonium-186 isotope as the theme, which doesn’t and can’t exist. Yet Asimov took the base and built a story set in another universe with a different set of laws of physics that allowed such thing to exist. Discussing such topics and themes is a hallmark of science fiction as a genre.
All this wondering makes me want a hard science fact story that uses 1600s science as its basis.
One of Japan’s most important export product is its culture. For numerous years, their ministry has taken serious notice of their cultural goods making large-scale sales abroad. Cartoons, comics, novels, electronic games and even pornography has seen a constant rise in popularity since the Second World War. Even before that, there were people who were fascinated by this culture that is that much different than the Western hemisphere can offer.
However, this is a rather new event. Japanese culture was not exported by the government itself, but rather by foreigners who entered the country and brought it with them as they returned to their home counties. Whether or not it was because of the infamy of the Japanese actions during the war, or because the culture in itself was not seen as a profitable good to be imported. To this day, import of Japanese culture is seen as a taboo in some parts of the Asian world. For example, South Korea discourages and often outright censors depiction of Japanese culture in their media, which has lead companies to provide modified versions of their games for Korean markets. For example, the samurai Mitsurugi was replaced with Arthur, a European character that just happens to don Japanese armour and sword. Other fields of censorship South Korea frequently employs is regarding Shinto symbols, which get scrubbed from both television programmes and comics. Thailand has a long history with self-censorship, which has extended in policies against media displaying .e.g. Buddhist imagery. Sri Lanka also issues with certain religious concepts being showcased on air.
South Korea nevertheless has imported numerous Japanese products via copyright infringement and piracy among the official releases and has presented numerous Japanese-original products as their own. One of the more famous examples of this might be the design of Robot Taekwon V, which is a modified Mazinger-type design. The later designs in the series incorporate elements from Mobile Suit Gundam and especially from Combat Mecha Xabungle. Numerous bargain bin cartoons, like Space Thunderkids, exhibit numerous types of plagiarism Koreans practised at the time, ranging from music to character designs.
Koreans taking after a Japanese product should not be a surprise though. Japan improved its relation with their fellow Asian countries during the 1970s and 1980s, which in turn allowed their industry to grow even more by exporting their products. It was during this period when Japanese technology gained its fame, with cars making their way across the world and names like Sony were associated with high-quality products par none. A little company called Nintendo also effectively saved the American video game industry while struggling to compete against Sega in European markets.
Even earlier than that, the world had already begun to see the sort of creativity Japanese media was enjoying. It is thanks to Gigantor and Jonny Sokko and His Flying Robot (Tetsujin #28 and Giant Robot, respectively) that America associated Japan with giant robots, which was only enforced by the upcoming slow but sure burn of animation. Speedracer and other Japanimation paved the way of current trends for Western acceptance of anime. While current mainstream might discourage anyone from visiting these localized products, where characters, stories and sometimes even music were replaced via Americanization, they nevertheless helped these shows to gain a larger audience. They may not have been accurate, or even faithful to the original Japanese product, but that was not how you made business at the time. There was no market for original-language products in the same manner, in many ways, there still are not as many countries across the world still heavily localize and dub for the local market’s consumption.
Whether or not something is localized, unless completely redone from the ground up, you cannot divorce localized material from its original counterpart. The language may change, the story might change or maybe even the whole point of the product might change, yet the core idea will still stay and shine through. All the discussed examples, whether localized or plagiarized, are inherently Japanese on idea level and in concept.
All these shows were imported by individual entities and corporations, so they were mostly to make money. Some products, like the original Godzilla, did see a subtitles release before its localized version, which is an example of a foreign product made to fit the home market in a proper way. Without that, we would not have Godzilla in the global pop-culture landscape. It wasn’t until the late 1980s when Japan’s Takeshita government took the first true initiative to market Japanese culture abroad via exporting Japanese television programmes to other Asian countries. The Japan Media Communication Center, JAMCO for short, was established in 1991 by joint efforts of Ministry of Foreign Affairs and Ministry of Post and Telecommunication. This led to the translation of Japanese television programmes into English as well as developing shows specifically for export markets. Most of these shows were aired in other Asian countries, but many of them also found their way into the Western world. It’s easy to see a show like Iron Chef being promoted for foreign markets thanks to its local popularity, and it could be easily trimmed down from its hour-long episodes into shorter episodes.
All these efforts were furthered in 2001, when Ministry of Economy, Trade and Industry’s (METI) Media and Contents Industry Division established a think-tank examine what challenges and prospects there were in promoting Japanese culture, especially its media contents, to overseas market. In fact, even before that METI had recognized the growing trend of Japanese culture-products to have a rising trend in export, and estimated that multimedia industries, that of electronic entertainment, music, films, software, broadcasting and such would generate over 55 trillion yen, a boost that post-Bubblegum Bubble Japan could’ve used. It would be an understatement that the Japanese government was becoming well aware of the potential of their cultural export.
The combination of Japanese products’ quality and the further steps of having Japanese media presented as Japanese has created its own brand image. Made in Japan is still seen as a certain brand of quality, but nowadays just Japan delivers a certain kind of image of the cultural landscape and the type of products it offers. The constant export of Japanese media goods has furthered the expansion of their culture, with electronic entertainment and multimedia products being in the lead. This might be due to Japan having a much longer history in multimedia productions, something that did not hit the Western world until the 1980s.
Outside electronic games, Japanese comics and cartoons have experienced almost a thirty years rise in popularity in the Western markets, with the late 1990s early 2000s experiencing a breakthrough boom when a new generation found anime. The blooming Internet culture at the exchange of the millennium continued the older VHS fan subtitle culture in digital form, and freely shared shows with added subtitles spread Japanese popular culture even wider. In many ways, the current state of affairs, where almost every new animated programme gains official subtitled release of some sort, is a direct result of this fansub culture and the piracy it promoted. It was, in effect, years of the best kind of promotion and advertisement, which lead these people taking steps to be involved in the industry and make sure that the market would get what it yearned.
Without a doubt, METI’s think-tank is partially responsible for the rise of Japanese media in the Western hemisphere during the previous two decades. When you combine both the existing yet largely untapped market’s yearn with government-driven agenda to promote these products, it is easier to understand how Japanese media products became for more common that what they already were. Japanese cartoons and comics went from an underground culture to mainstream, with anime and manga became terms much more recognized. They became a brand of their own, which effectively state A product of Japan.
While this post is focusing on media, it should be noted that Japanese cultural exports also include martial arts. The martial arts and ninja boom of the 1970s and 80s were largely thanks to Japanese influences and Hong Kong cinema. Teenage Mutant Ninja Turtles is one of the properties that is, in effect, a result of Japanese cultural exports and their prevalence in the United States (even though that’s still media). It should be emphasized, that almost every city has at least one form of martial arts school that ties itself to Japan. Be it karate, judo or other forms of budo, the Japanese martial arts have a high status and is one of the more important cultural exports Japan has ever had, but they themselves don’t make much revenue. Nevertheless, Judo was considered significant martial art to the point of being accepted as an Olympic sport at the 1964 games.
Furthermore, Japanese innovation such as Just-in-Time manufacturing Toyota pioneered alongside lean manufacturing have left a worldwide impact. Companies like Motorola and John Deere have employed these in their manufacturing decisions. I would amiss if I would not mention the 5S method, which lays out how to organize workspace for efficiency, which also affects standardization.
If I am to believe the Japanese people that I have conversed with throughout the years, as well as the occasional cultural report I have read, the Japanese enjoy how foreigners take interest in their culture and its products. It is something they take pride in. Works like Super Dimensional Fortress Macross effectively celebrate the culture by weaponising it against the alien species Zentraedi, as they lack their own. To be specific, Macross weaponises the early 1980’s idol culture and makes songs an effective counterattack to disharmonize enemy actions and show that war is not the only option in life. Macross has continued to use songs, idols and robots as a means to celebrate each decade in its own ways, which shows how long-lasting the property is and how much faith Japan has in its culture.
Incidentally, Macross II would aim to undermine the superiority of the idol culture, as its staff considered the idol culture outdated and that it’d become obsolete by the end of the decade. They bet on the wrong racehorse
If you look further into their media products, you will see a pattern forming, where their own country and its people are in focus almost exclusively. Even in works that take place outside Japanese borders (or in fictional worlds) they have heavily implemented their own cultural landscape. Final Fantasy VII may be one of the most globally celebrated roleplaying games, but everything from its design language, storytelling, character designs, music and play is stereotypically Japanese. You have thin heroes with comically large weapons, a mix of science fiction and fantasy in a manner where there is no distinction between the two, cheap drama that is executed in a most exquisite manner and numerous other elements that can be described as Japanisms.
Japanisms are what could be described as storytelling stereotypes or tropes that exist and are specifically used in Japanese media. It also includes cultural concepts and behaviour that is very much their own thing. To use an example from modern stories, in romance stories the childhood friend of the main character often is in a losing position, thus creating a unique character trope. Japanisms can be silly in their own right, and can often detract the story they are in, they are largely embraced as expected, almost essential, parts of certain genres. These Japanisms also constantly evolve when it comes to the media, with the whole other-world genre taking more and more cues after Japanese roleplaying games instead of general fantasy to the point of actual play mechanics and RPG status screens becoming one of the tropes. The whole genre has become so common, that even foreign publishers have adopted the Japanese name for its, isekai, to further illustrate the contents to customers in-the-know.
These Japanisms are one of the reasons why their cultural exports are of interest and make sales. Be it transforming robot toys or whatnot, certain concepts simply take form in a different culture in a completely different manner. Just as you find stereotypically American ideas in their caped hero comics or novels, French stereotypes in their cartoons and British mangy grossness in their media, Japan has the things you can only find in their products and that interests people. The Britons were the only people who could have come up with 2000 AD’s Judge Dredd due to their culture much like how Superman was the ultimate realization of an immigrant to the Americas in the early 20th century.
With the global information exchange constantly growing and ideas exchanging hands, consumers have become more and more aware of exclusive goods. Importing cultural goods, like pots, books and such, has always been a thing, yet towards the new millennium, this has become more and more a mundane thing. While we might have bought a car that was made locally on in the neighbouring country, we have found ourselves in a word where we can get anything from anywhere, if we just want to go through the trouble. Appreciating cultural differences has become more common at the same time, though the United States has stereotypically been the top dog of having others appreciate their cultural differences rather than the other way around. The current global trend of having one, overwhelming global culture to overrun all others is a direct legacy of American export of culture.
As the Japanese government has a history of investing themselves in the exportation of their cultural goods, they have also been concerned about its nature. In June of 2020, Ken Akamatsu of Love Hina fame explained in his Twitter account that he was invited to the House of Councilors questioning sessions, where the government asked What measures are needed for Japanese manga to survive in the world? Akamatsu’s reply was that freedom of expression must come first, as he sees this as Japan’s strength over overseas competition. His fear is to see foreign platforms, which already have larger global influence and market shares, dictating rules and regulations on Japanese originated comics. According to him, the members of the parliament agreed with his sentimentality.
His view is opposed by D.J. Kirkland from Viz Media, who has been vocal for changing and producing manga for Western markets. According to Kirkland, there is going to be a conversation between stakeholders in Japan and Western publishers when it comes to creating content that appeals more to the Western audience. His view that anime is a business is a correct one, yet his intentions largely leave the original creators and their intents out of the equation. Kirkland also ignores that anime and manga have been specifically made for the Japanese market alone and its success as an export product leans heavily on this. Kirkland’s word at its face value, he also considers that US and Western market to be one and the same when this isn’t the case. France, for example, doesn’t exactly rely on English language releases of Japanese works nearly to the same extent as some other countries. English language releases from the US certainly make themselves around the world and do skew the numbers, but the point still stands.
Akamatsu’s worry regarding governmental or industrial over-regulation is relevant. He was the key person in stopping Japanese corporations taking actions against the Japanese homemade comic scene, the doujinshi scene, which sees people making their own created comics they do not own and publishing them at events. This is infringing copyright, something all the companies would have all the power to stop, but due to the nature of doujinshi being a major part of the Japanese popular culture, they are allowed to continue with this half-decade long tradition without much trouble. In fact, majority of the Japanese comic creators have some roots in the doujinshi scene, such as ever-popular CLAMP, and it is not uncommon to find a popular creator having drawn adult material before moving to mainstream comics.
Sony has also showcased how its internal censorship has affected the PlayStation as a platform, as a brand and its library. With numerous games being rejected from the platform, forcing the removal of content and content having to change to meet their Californian HQ’s standards, we have already seen a shift in how Japanese creators’ content has been dictated by an outside force. As Sony has concentrated to cater to Western, or rather, American taste, they’ve lost sales and position in Japan to Nintendo. Furthermore, Switch sales have increased as their more lax policies still allow creators and developers to continue in their usual fashion. This has increased overseas importation of Switch games, as numerous titles get Asian-English releases nowadays. I’ve covered Sony’s censorship before in this blog. You can find the posts on the topic here, here and here. I probably missed one or two.
Some Japanese corporations like Square-Enix have taken precautions to quell possible conflicts by changing pre-existing designs. Final Fantasy VII Remake Tifa’s design got criticized for unnecessary changes, while others still criticized the design for unrealistic body proportions. Character Maam from a 1991 Dragon Quest comic, Dai’s Great Adventure, also saw a redesign from her original Martial Artist class design when revealing mobile iteration of Dai’s Great Adventure.
Censorship on Japanese products isn’t anything new in itself. Ever since Japanese comics and cartoons have arrived to the Western front, be it the US, South America, or parts of Europe, they have seen some degree of censorship. Sometimes its removal of religious imagery as in older Nintendo games, sometimes its removal of blood from comics and cartoons, covering up bare skin or making sure characters say they saw a parachute after blowing up an enemy robot. Viz themselves have a long history in censoring comics they localise, removing whatever they find objectionable at a given time, sometimes making panels look weird even out of their proper context.
The main difference is that all these have been external changes. Whatever Viz Media has done to censor the versions they publish is their and their customers’ business. The original creator was not limited by anything else but what he had discussed with his editor and staff. What Kirkland, and some of the Japanese government may be proposing, is to control the output of the creators at the source, practising self-censorship and limiting what they can and cannot to create. It would be imposing outsiders’ values and views in order to make Japanese cultural products more palatable for them.
What Sony is imposing on their worldwide developers, and what Ken Akamatsu is fearing, is cultural colonialism.
Homogenizing Japanese products according to outside rules would mean losing all the edge they have held over the competition. Cultural colonialism ultimately destroys the uniqueness of culture and replaces it whatever it currently acceptable by the people who enforced it in the first place. The American censorship is flippant at best, and as they show themselves as the face of the Western world, they would be in the lead of spreading their view of correct and proper culture. The US might not act as the world police as much as it used to in terms of military power, but that’s because war has changed. Now, the war is about information, controlling it and impacting how people behave. By trying to make everyone think and act the same, it becomes easier to exert power over people, even if they’re in a whole different country. Controlling what can be produced, or in what tone, is one step in controlling the way the culture begins to think despite what reality is.
The Japanese culture is a result of their long isolation until they were forced to open trade connections. While many Western nations have their identity moulded through constant interaction with neighbouring countries, Japan has always had the luxury in many ways unique from most of the world. This does bring its own baggage, which has resulted in less than favourable view of Japan around Asia. Outside a few tribe cultures that have had no contact with the rest of the world, the Japanese culture is in many ways closest to an alien culture a Westerner can easily access. Throughout the years this has caused certain fetishization of the culture, which has created the occasional Exotic Orient boom, in which various items and people have been exhibited to the public at large like some circus freaks. Racism has played some part in this, as numerous times these booms haven’t really cared whether or not depictions have been correct, and Asians were seen largely interchangeable with each other. This lead to things like kung fu being a Japanese martial art or Korean language cited as Chinese. These have become less common place nowadays, but the idea of Exotic Orient still raises its head sometimes, but in a more positive light nowadays thanks to the efforts of Asian nations themselves making themselves known brands.
The Japanese government’s worry over Japanese comics losing place in the overseas market is baseless. Currently, Shonen Jump comics are outselling Marvel and DC in the US. Various European countries have a steady flow of Japanese titles on their publishing lists. France especially has an impressive library of Japanese comics, perhaps the most in the European sphere that does not speak English as their first language.
The government would have to worry if the industry itself or the government would begin to regulate the creative industries for Western markets. For the last thirty years, the Japanese government has done a lot to promote Japanese culture and its products, thus have seen a steady rise in overseas exports in every media field. While some programming has been specifically made to fit overseas market tastes, only a few individuals have taken straight actions to produce overseas market-specific products, like Mazinger. However, more and more mixed media projects concern themselves with the overseas market, resulting in shows that end up on Netflix and built to fit the global streaming service. In itself, there is nothing negative in trying to make products appeal to more than one market. That is just business. However, that approach does not take anime and manga’s primary target consumers to be the Japanese. The true uniqueness of what manga and anime as brands would offer would be removed, and the brand of Japan would be exchangeable with whatever other countries. In other words, under cultural colonialism, that uniqueness would vanish.
Nevertheless, if the Japanese media would be regulated to suit foreign markets, they would undermine all the efforts the government has seen thus far as it would lead to current market objecting. It would be the opposite what the market has loudly wanted for decades now; uncensored, uninhibited works that are presented in the same forms as they originally were in Japan. Of course, by installing regulations at the source, the customers wants and wishes could be underhandedly circumvented. Outsider regulation at the source could, of course, cut costs when the localizing company publishes it, as there might not find any need to edit the content as it was already made for their liking. While the occasional overseas market-specific piece isn’t all that rare, they are also transparently pandering and lower in quality. Numerous properties have been turned into international brands later in their life, which has given away their visible deterioration of quality and loss of that original spark.
If it was just a few companies pushing for this level of censorship, they could be stepped around by using other companies or forming new ones. However, if these regulations would come from the government, it would damage the Japanese media industries deeply and heavily. A market suicide of this scale would be unpresented. Not only the government think-tanks would have to device new ways to market now-censored products that supposedly should sell better to the Westerners, but the companies that enjoyed large customer bases would have to spend insurmountable amount of money for marketing in order to keep now-damaged market while trying to expand it with these new pieces.
Furthermore, the generation that initiated the new millennium anime boom in the West will be replaced with a new one in the upcoming decade or two, and chances are Japanese media will see less consumption naturally at a global scale. This is due to the new generation always wanting to replace what their parents thing. This is the natural relation between parents and children. The best way Japanese government and the industries can combat this is to have their new generation of creators to take reins after the old masters, something that seems to be natural for the Japanese culture.
The question that lies under all this is What has made Japanese cultural products so appealing? The answer can be shortly be given as They’re Japanese. A product of another culture always offers a whole new alternative that can’t be found anywhere else. Perhaps it is the aesthetics that hit the right spot with some, perhaps it is the story beats. Maybe it’s all those Japanisms that inhabit each and every work to the brim. It still has to be admitted that Japan might need to cater to the overseas market in any case in the future. This is due to their constantly ageing population, which drops the buying power the nation overall has. The inverted age-pyramid keeps growing as the childbirth rates keep falling. This will ultimately require a shift in the Japanese culture when it comes to foreign markets and to foreigners themselves, but what kind of shift it’ll be we’ll have to wait and see. In a connected world as ours, it might be hard to imagine Japan closing itself once again, but that isn’t completely out of the question if physical connections are lost and we become connected only digitally. Nevertheless, at some point, there will be a need for people who would rather make comics and cartoons to work in other fields due to social changes, but that too will result in cultural works that reflect their times.
Japanese media, and their culture, is unique. The Japanese people know this and they celebrate it, more so than some other countries out there. They don’t hate themselves. They’re not afraid of showing it either, and they wish to share it with the world, if possible, with certain limitations. Their nation and the identity it has is strong and cohesive with a large number of regional differences to give vivid accents to any work. To break Japan’s export of culture with cultural colonialism would be heavily damaging, if not outright erasing the identity cultural products voice. Cultural exchange should not be this sort of one-sided corporate exchange, but where both sides agree and celebrate each other’s differences while agreeing to disagree with the incompatible ones. These are individuals and private companies who have a set target audience, and they should not be forced to cater other audiences or their whims if they choose not to.
As long as I can remember, Domino’s Pizza has been the butt of jokes to the point even my Vietnamese associates know a few. They had a massive problem with PR and their pizza for numerous years and found themselves in a downward spiral in the mid-2000s, striking the all-time low in 2008 when their stock price was just three dollars. Nowadays they go for around 380 bucks. It wasn’t the easiest route.
Despite Domino’s hitting their lowest point, they experienced a massive PR crisis following Michael Setzer’s and Kristy Hammond’s Youtube video showcasing how much they loved to ruin the food they were preparing. They pleaded guilty a year later. This video effectively confirmed how Domino’s food was prepared in the minds of the consumers, further enforcing the jokes that were made and pushed customers away. It didn’t help that the video ended up being one of the top search results if you searched for Domino’s at the time. Even disregarding this incident, Domino’s was seen as some sort of crime against food and ingredients, or as Adweek’s short story put it on their focus testing, it’s startling to hear the degree to which consumers regard Domino’s as the embodiment of culinary evil. During this and numerous other focus tests Domino’s pizzas were called all sorts of names and claims of them using fake cheese and the like in their products were common, hence the jokes of the time. Some of them have survived long enough to be part of pizza-eating culture.
Domino’s decided that they need to turn their ship around and hard. Ever since their record-low stock price and the whole PR disaster with Setzer and Hammond, Domino’s began to comb through their complaints and reviews for the most common negative mentions and comparisons, as mentioned in their four and a half minute documentary what they were doing. This video, while being a corporate produced piece, is one of the things Domino’s did to have that boat turned. They went back to the recipes and worked on them and revised what they were doing wrong. Supposedly more training was given to the workers to prevent the mishaps the aforementioned video caused. Domino’s, in all effect, owned that they were rather shit company with workers who didn’t care if your pizza was terrible or not. The linked video shows how proud Domino’s was after they went and created new pizzas, which were more or less made from scrap. Everything from the dough to toppings was tested multiple times over and changed wherever needed. Whether or not this is all true will probably be always an open question, yet even from this video it is evident how much money Domino’s spent to revise their image by revising their image through their product. They even went as far as providing their focus group members with these new pizzas to test and get their opinions. They made these into ads, no less.
Domino’s Pizza owning up and takings steps to deliver to the customer the kind of pizza they wanted while making a public, transparent stunt out of it all has made them the most valued pizza restaurant chain. While some still retain the image of Domino’s being the worst kind of pizza you can have, that’s rather outdated view by about a decade. That, and they probably never had Greek pizza. Domino’s stocks have been in constant rise, and they’ve been trying to renew customer interest in various manners after their renewal, like collaborating with Hatsune Miku in Japan. part of their whole shtick of being transparent to at least some extent, they’ve allowed Food Insider to make a short video how their pizza is made and delivered, though personally, I have to say I’m not exactly excited by the idea of the dough being made elsewhere from the spot. Delivery food is making some nice bucks at the moment, so Domino’s made some nice bucks earlier this year as people didn’t want to leave their homes.
What’s your point? I hear Wes asking me there. My point is that Domino’s pizza listened to their customers, changed their product and working methods to better fit the demand. Not only they were willing to take in feedback and were honest about it to themselves, but were willing to make rather transparent transition from what they were to what they wanted to be. Customers love that, and that made them a billion-dollar company.
This same set of ideas can be applied to any industry on their basis. While the creative industries want to sell the image of one creator or a team of creative individuals delivering an earth-shattering piece that can only be experienced in so many fashions, the reality is that any product needs to be carefully planned out and balanced between the original intent and the customers’ wants. That is far harder than you would expect, as some corporate cultures do everything by data alone, which can lead to discarding feedback in total and the only thing that says anything is sales data. This can be combined with long-term career businessmen, who are hard stuck on their own methods of working, as it has produced large revenues up to that point already, making the total renewal of their productions hard if not impossible. In the foodstuff world, this is easier to do than e.g. in automobile production or the like, where you can only begin to start this process with the next series of cars rather what you already have in production. With games, music and film this could be implemented in an easier manner, but it requires humility among these egos, and that’s something the self-clashing creative industries do not see too often. Imagine if, for example, EA would make a public announcement that they’ve listened to all the feedback they’ve gotten through the years and have begun to consider how they produce, develop and publish games, as well as how they tackle advertising in their games or in which manners lootbox mechanics function. It’d take years for them to root out these methods and manners they’ve cultivated throughout the years and end up putting efforts into making games that wouldn’t nearly kill their workforce or would contain whatever is currently the most underhanded way of making that extra money. Something like this happening in the creative industries is as likely to happen as a pig flying through your window. It happens on occasions, but extremely rarely.
Few posts ago I wrote how I’m tired of the PR game. Domino’s Pizza turned their PR disaster into a chance of renewing their image through transparency. Because transparency to that effect would necessitate losing face first in order to gain higher PR wins in the long run, you won’t see this happening with franchises like Star Wars or any of the botched film franchises. You will never see one of the head honchos stepping up, admitting the money they spent on a movie bombing like no other was a mistake and that they will look into renewing and satisfying the customer. That would go against how things are presented to the audience, the whole Hollywood/ creative myth, how glamorous it is to be a successful creator. Yet even sure-shot franchises like Star Wars, Alien and The Terminator have slumped, the latter two effectively becoming more or less dead thanks to the latest movies. Hell, even the Predator franchise is back in the casket after The Predator managed to fuck up the series. As much as it often goes against the corporate grain, transparency and honesty are two things the customer values. If a corporation manages to be open about their faults and missteps about themselves and is visibly improving themselves, that creates almost natural emotional connections to both your current customers and your possible customers.
The one place where transparency should be the most important bit is in crowdfunding like Kickstarter. If you’ve run a Kickstarter and have managed to each your funding goal, every single thing you do with the money or with the project should be logged in without censorship shared with the backers. All the good you do is doubly more worthwhile when you admit fucking something up and explaining the methods of either supplementing or fixing what’s gone wrong. With crowdfunded products you have to remember that these aren’t your customers; these are the people who funded your project. Being transparent with them is the least you can do. The PR game wants to mangle and twist every screw-up into something positive in false manners, and more often than not the customer can see through that. It’s up to each individual customer how much leeway they might allow the PR game, and most often you can see it in the form of taking their business elsewhere. Of course, if you proceed to attack the customer when you want them to buy something from you, well, not everyone is masochistic.
Perhaps Marvel and DC should take after Domino’s Pizza. Japanese comics have been outselling American Superhero comics for some time now. In the face of this fiercer competition from beyond the ocean, it would be a good moment for American comic companies and creators to stop for a moment if they’re doing something wrong.
The new Battletoads game is more or less out, with all the cutscenes already out on Youtube. When the characters are effectively told that everything they’ve been doing for the last twenty-six odd years in a fantasy bunker (think of Holodeck from Star Trek, same thing), followed by an assurance that they’ll find a new audience, you get the thing the game is going for. This soft-reboot, which turns out to be a sequel, effectively tries to undermine and destroy the older games setting. After all, it was all a fantasy. It’s not just spiteful towards the ‘toads themselves, belittling them and making them outright idiots, but also turning the Dark Queen into some kind of annoying, childish bitch. The two of course team up to destroy two god-like alien beings, which for whatever reason are also gay stereotypes. I’m not going to pretend to be in the writer’s persona this time around and will call the game’s depiction of the characters, the setting, and pretty much everything about it, fucking retarded.
I’m sick of destructive deconstructions. Battletoads is a prime example of people wanting to play with an IP but having zero respect for it. Every aspect the original games had, from the cartoony giant mallets and drills in punches and kicks to eating flies, has put under the lens, made fun out of and turned to eleven for a comedic effect that doesn’t deliver. It’s like watching a train wreck being piled on five other train wrecks while people are still screaming in agony and pain amidst burning fuel and crashing steel. Except what the people are screaming is constant bad jokes and self-aware puns about themselves and the situation. That actually sounds better scene than anything in the game. Though the game isn’t just vile against its own cast, but also at the fans, the core audience this game could’ve had. There’s a scene where a non-player character laughs at the redesign of Dark Queen’s clothes ends up him being blown out into space with Dark Queen announcing he doesn’t get to decide what she wears just because they hung out twenty years ago. While it’s nothing new for developers, songwriters and directors to execute or belittle their critics in their works, it’s not too often you see them telling the IP’s fans to fuck off. After all, they are aiming to get that new audience.
Alan Moore’s (in)famous for deconstructing and reconstructing comics goes long way. Sometimes he fucks them up, sometimes he manages to take some of the parts and build something better. When he worked on Captain Britain in the early 1980s, he started a storyline called Crooked World, where a character called Jasper goes insane with his reality-warping abilities, ending in Captain Britain killed by a creature called The Fury. Merlin rebuilds Brian Braddock back from scratch to mettle with now-multiverse level threat and to restore a resemblance of balance. Rather than belittling Captain Britain’s past in fighting low-level crooks and criminals, Moore ultimately based all the previous adventures as building up to Jasper and his insanity. Rather than just fighting these street-level villains just for heroics, Merlin had build-up Brian Braddock’s mental capabilities in dealing with threats and enemies from down to up, until the moment when he had to face a supervillain capable of reworking reality in whatever form he wished. It must be mentioned that Moore didn’t work alone on this.
Alan Davis’ contributions as an illustrator and fellow writer made the pages breathe far more down the line and had a significant positive net effect on the whole storyline. Early on the story is rather text-heavy, but with Davis getting more room to tell the story through the images towards the end makes their writing stand out even more. This deconstruction of the character is an exceptional success, as it literally strips down everything the character was and had been up to that point and is rebuild from nothing in both physical and mental sense. However, the main difference in the two deconstructions, between the new Battletoads and Captain Britain: Crooked World is that Brian Braddock as a character didn’t change, nor did his intent. The ‘toads, and everything about them, has been revamped and changed, destroying their late 80s/early 90s too-cool attitude and replacing it with modern quippy, jokey, annoying parodies of themselves. If they had ended up as late 2010s/early 2020s cool actions heroes, or perhaps even as nostalgic throwbacks to 1980s teen action heroes through a modern lens, the deconstruction might’ve been successful. However, as they stand now, they’re spiteful tackles with no worth to them. It’s a new franchise shitting on the name they took with no recognisable characters to it.
Deconstructions have always been around. Yet with modern popular culture during the last century or so they’ve become more and more common as the millennia changed. Rather than building up something new and awe-inspiring, we’ve been getting works that take what’s known, breaking them apart and using those elements to produce pale copies with little to no relation. Often for political messages and agendas, which worked so damn well for the latest Terminator and Charlie’s Angels movies. Breaking things down is easy, deconstructing something is even easier. Creating something new and original that’s also worthwhile, that’s the hard part. Turns out, the new Battletoads can’t really do deconstruction properly and opts to channel the worst of Rick and Morty into its building blocks. You know what was the spot I honestly quit? Early on Rash is wearing diapers full of piss and shit while being a conspiracy nut, trying to parody procedural detective and police shows. I want to say this is taking a shit on the character, but this isn’t even the same character. It just has a similar face.
You can only ignore these character to certain points. Everything from characterisations to the world and the setting is, putting it simply in one word, wrong. A game can be divorced from its story just fine, but it can’t be divorced from its visual and flavours. It’s a game that actively hates people who are fans of the original Battletoads and the developer intentions are loud and clear. When there’s a tiny particle of the original characters and games towards the end, they’re called relics of a time passed. Now you die. Microsoft probably enjoys all the publicity they’re getting.
Speaking of Alan Moore and deconstructions, that one The Simpsons skit with him describes the whole situation perfectly.
For the last decade or so I have seen a change how some consumers view science fiction and fundamentally misunderstanding it. The core argument is that something isn’t science fiction after all, despite being labelled so for numerous years, if not decades prior, because it’s not realistic, or the science that it supposes simply couldn’t happen. Sidelining Clarke’s law about Any sufficiently advanced technology is indistinguishable from magic, for now, this is a patently false view on science fiction. It does, however, fit hard science fiction, a sub-genre of science fiction that is all about diamond-hard fiction without breaking the current understanding of science. By their very nature, their view on science will be obsoleted in a few years as science advances, they’ll turn what some people call soft science fiction.
The audience knows that the science presented in a science fiction work is largely fictitious. It’s part of the silent agreement with the author, where the viewer has been presented more or less a world where some elements are more believable than others regarding science. Some stories, like The Andromeda strain, stick extremely close to the guns and doesn’t veer away from possible reality. The suspension of disbelief happens with the whole point about a virus coming from outer space and being able to evolve like it does in the book, the rest what science fiction is at its core; it asks the question What if… SF handles concepts more than straight fantasy does, though SF in itself is a branching genre from fantasy. While fantasy is about grand themes and builds upon those themes, SF explores concepts. For example, in Asimov’s short story Jokester a question was passed to Multivac, a Superintelligent computer, where do jokes come from as they seem to be something that everyone tells, but nobody truly invents. To spoil over this sixty-year-old short story, the end result Multivac ends up coming with is that all jokes humanity tells are by some other extraterrestrial power that is implementing jokes into humanity as a control device. It also came to the conclusion that when the first human figures this out, jokes and humour would cease to be implemented as the testing has now been sullied and a new factor would replace it. Multivac in itself isn’t the science fiction element in this short story, nor are the god-like extraterrestrials, but the concept of humanity being used as lab rats. Asimov took a look at the concept and wrote a small story around it with a humorous, even if dark, angle. Similarly, Haldeman’s sequel novel Forever Free to his masterpiece Forever War was ultimately about the same concept with completely different kind of approach and realisation.
Asimov’s Foundation follows this the same kind of path. To describe the works shortly, it is about how to shorten the Galactic Dark Age that follows after mankind’s Galactic Empire falls. How the Galactic Empire, or how it has formed, how people interact across the planets and so isn’t the science fiction part, neither is the fall itself. The fall, in actuality, is merely background material and is based on the fall of the Roman Empire. That parts historic, not SF. The part that makes the Foundation series pinnacle of science fiction literature, something that makes it practically unadaptable, is psychohistory; a fictional field of science that combines statistics and psychology. Through psychohistory, one can make accurate predictions on how large groups of people will act based on those people and surrounding events, as long as they remain unaware of the analysation. The modern field of Big Data largely follows the same ideas, but in practice, the two are very different entities. Psychohistory is the fictional science element that in itself is a concept worth exploring. It opened more doors for Asimov to explore from how one group of people could control others through representing technology as a kind of religion to how it all can be taken down by one element that isn’t in the calculations. Asimov is famous for setting rules and regulations to his works with Laws of Robotics being his most famous. What most people don’t realise is that Asimov extensively explores these concepts and their failings to the point that his works alone are the best arguments why the Laws of Robotics are flawed. Similarly in the Foundation series, he explored how one inhuman element, a mutant, can throw a monkey wrench to otherwise perfectly working system. He then proceeded to explore how such things could be prevented or perhaps even corrected. Space travel and all that is merely flavour and the background to which the main dish is served.
Similarly, Star Trek is often seen as a science fiction show because there are people in space going swish in a space ship. A hard science fiction writer wouldn’t be placing any space vessels outside our own solar system, as the science we have now doesn’t give any realistic methods to achieve even proper portions of the speed of light. We’d run out of time if we’d begin to travel interstellar space, the distances are just too large to get across. Star Trek could be said to be the archetypical positive work of science fiction, asking what if humanity had socially evolved to be a benevolent entity. Much like Asimov, many episodes question the Federation of Planets’ standards and ways of living to creator Roddenberry’s chagrin. Star Trek as the wagon show set in space itself could be regarded as science fiction, though much like with other popular SF works of the time, it gathers science facts of the time and makes assumptions in order to build that veneer again. The science in itself may be spotty, yet the function of science was aimed to be valid. The writing team employed some NASA members to ask what was possible and what wasn’t, but as with anything, the story comes first. Captain Kirk fighting a giant green lizard may seem hacky and laughable, yet at the core, the episode is about two completely alien cultures being forced to face each other to the end. The episode takes the initial What if… about humanity being able to become a force of good and reach the stars, challenging it in face of death and destruction, then given the possibility to destroy this malevolent force. Little things in Star Trek have become reality in a way or another, like the whole thing about portable phones and communicators. In the same manner, Orwell’s 1984 is effectively the opposite of Star Trek‘s positive view and explores the possibility of the world becoming a totalitarian hellhole akin to the Soviet Union. The telescreen technology is a possibility, but that is simply a tool to be able to tell the story through, much like how thought policing is.
Mecha, giant robots, is often taken as a method to tell an SF story. However, just like Star Trek, mecha is the framing device for the main dish. It’s the flavour something is painted in. One of the best examples can be found in Mobile Suit Gundam, in which most people would coin mechas and space set to be the whole SF thing. However, the main SF element in Gundam is exploring the next step in human evolution; the Newtypes, humans with an extra sense of space and time that they are able to share among each other. The space setting is necessary, as the show asks What if humanity would need to evolve in space, and how it would proceed. Then it explores what political and social implications it would yield to mankind in the guise of a war story. You could change the mechas Gundam to something else, powered armour or space tanks, and it’d work just as well. However, remove Newtypes and the core structure that holds both the setting and show’s concept together falls apart wholesale. Much like how Asimov explored the faults of his concepts, Gundam has seen numerous entries questioning the validity of humanity being able to share their thoughts across space and time. Yes, everybody knows mechas like Mobile Suits are impossible, impractical at best. That doesn’t take away the fun and interest in building on the idea and enjoying the flavour, basking in the intricate designs and history built on the already set up fiction.
As mentioned earlier, science fiction will always grow old. If SF work emphasize is mainly in the science or how it works based on then-current understanding, it’ll always be out of date. Giving a fictitious explanation based on the scientific method will always age better. Simply leaving something important unanswered often leads to weak world-building. Jurassic Park is an example of a work with extremely detailed and well-maintained world-building and explanations for its science. It is also an example of a work that, despite being heavily rooted in science that was possible, it is now an example of a work where we know about dinosaurs and cloning so much that the book is out of date. Nevertheless, this doesn’t take anything away from the story itself, or from the question What if humans were able to bring dinosaurs back. It brings more than just that on the table and explores more than one concept, like certain applications of the Chaos Theory. SF Debris did anexcellentseries on Jurassic Park this summer, which I wholeheartedly recommend watching.
Even older works of science fiction seem rather weird to our modern eyes. For example, the classic Lensman series of books by Doc Smith has no computers in them despite an extremely advanced form of space travel that can cross galaxies and even dimensions. Everything is done by a slide rule, which is an analogue calculator. Or if you want to use the term used for people who used to compute numbers, an analogue computer. Some of Asimov’s earlier works lack computers as we understand them as well. Some of Asimov’s works began to include the aforementioned Multivac supercomputer but described some of them taking the size of whole planets. This was as according to science as understood at a specific time when it was assumed that only a few computers would be built due to their sheer size. Nowadays we have computers in our pockets every day that would have been considered impossible half a century ago. If science doesn’t have answers at the time to a problem a writer has, fiction has to take its place. The writer has to come up with a fictional explanation to the issue that hasn’t been solved or doesn’t have an answer. We can imagine many things based on popular culture and relevant science, but if neither presents any relevant information, we can’t imagine such things existing. There are things we can’t imagine existing because they haven’t been invented yet, nor has the science they’re based on. To use Lensman as an example again, it plays with the concept of negative matter. Not anti-matter, but negative matter, which would react the opposite it as it was interacted with. For example, if you pushed it, it would move back towards you. Anti-matter would be detected only later and its properties were found to be wildly different, but Doc Smith had some foresight into a concept of opposing matter. Lack of any kind of knowledge on the papers, however, forced him to use his artistic license. Even things like warp drive have been suggested to be a possibility, namely with the Alcubierre drive, but even in this, some elements are missing. The drive would necessitate negative energy and anti-gravity, neither of which Einstein’s theory of relativity considers impossible. In practice, it may be, but there hasn’t been any conclusive evidence to either direction.
Science fiction expects the science found in the work to be fictitious. Unless it is hard science fiction, the science itself does not have to be real, merely consistent with itself and the established scientific method. However, it is always taking back seat the moment the story needs it to. Star Trek, despite its science mostly bullshit, is largely consistent with itself. Nevertheless, what the scientific concept ultimately truly is often isn’t all that clear. Spaceships, lasers and all that we consider as old tropes in the genre used to be new and cutting-edge ideas. A raygun was a valid concept in the form fiction often describes it, before further exploration in the technology ultimately deemed it more or less impossible due to materials and physics involved. Material science, science overall, evolves at its own pace, always improved by necessity in burst-like motions. Many times we don’t even consider small things in our lives to be the end result of massive leaps and bounds in technology and science. The fact that we have a small diode, smaller than the size of your fingernail, now being able to be brighter than the sun and lit up a whole room. I’m looking at an old lightbulb on my desk I found today in my mother’s storage and wondering how this more than twenty-year-old bulb can last less time than my LED bulb, how it eats more energy and yet gives less light. The concept of itty bitty lights in a torch from fifty years ago is now a reality. The way science fiction, in general, represents its impossible science doesn’t matter, but what it does with its concepts and how it tells its stories, is.
Imagine if they the Batman was taken out from his comics and replaced with someone who isn’t Batman. Sure, Francis there will say that’s happened multiple times and he’s right. Yet every single time we’ve always returned to read further adventures as Bruce Wayne as Batman. The status quo returns. Same with Peter Parker, who has been replaced by other Spider-Men for some time. Like by Ben Reilly, who happens to have the best iteration of the classical Spider-Man suit. Superman has died and has come back to life. In any given new entry to the Transformers with Optimus Prime, you can expect him to die. Hell, for Transformers to have the same basic cast with some changes to setting and characterisation, yet all the roles and core characters are the same. People make connections with characters and their stories and wish to continue follow their stories. It’s not just something to consume, it’s almost like following how an old friend is doing.
Comics have made introduction of new characters a finely tuned craft. You first have the original comic for character A that’s successful, in which you introduce character B. Character B makes an impact enough and gets spun out to his own comic book, now expanding both the world of the comic and the lineup. Valiant Comics in the 1990’s was well versed in this and managed to build an organic and cohesive world. Malibu Comics’ Ultraforce book, their version of The Avengers or Justice League, was planned year beforehand and every team member’s storyline would meld into the Ultraforce story. Best thing is, it was planned well enough that it’s only apparent in hindsight and the stories themselves weren’t hampered by this plan. To this day I find it sad that Ultraverse comics and characters are dead. Marvel bought Malibu Comics just to get their advanced colouring techniques in 1994, and after the comics were cancelled around a year later, none of the concepts or characters have made appearances, sitting in Marvel’s vault gathering dust. Still, new characters get introduced constantly, but not many stick around enough to get their own books. Some times it is the executive decision to drive in a new book based on a new character with no real connections established previously, though that doesn’t always go as hoped.
The same base concept applies to any entertainment media, be it books, movies or TV-shows. Take the show Cheers as an example. People loved and cared for these characters, and despite Frasier not being a main character initially, he proved popular enough to be spun out to his own namesake series for eleven seasons. James Bond movies have tried to spin some of the characters into their own movies, but there hasn’t been any luck in that for multiple reasons. Budget always being one of them. James Bond has seen more success with James Bond Jr. in book and in animated form, though that’s somewhat arguable as it seems majority of the current mainstream audience only knows Bond from the movies.
Nevertheless, the method of creating supplementary characters and expanding the world has proven to be both lucrative and consumer friendly. You can do whatever you want with a new character and his setting all the while keeping the originator intact. You can even make the same choice as Marvel did with the Ultimate Spider-Man ans introduce a new version of the classic character. What seems to be the opposite action of this is replacing old characters with completely new ones through whatever methods the writers employ. Sometimes its totally replacing these characters, sometimes its rewriting them to the extent that what made these characters themselves in the first place is no longer there.
There are of course examples when a total shift in a series works. Star Trek: The Next Generation is an example of this, despite it not appearing so at first. The discussion which series is better and which had the better cast is as old as the show itself, many considering it a worthwhile addition but never reaching the same cultural status as the original. After all, it’s the original cast people were attached to, not this new cast with a French bald guy as the captain. I would argue that time has proven that the TNG cast and their stories were worthwhile addition to Star Trek, which opened further possibilities to expand the franchise in much larger ways. While Voyager, Deep Space Nine and Enterprise are largely debated within their fandoms, the overall consumer doesn’t deem them as worthwhile. Star Trek hasn’t managed to capture the audience in the same manner since TNG went off the air. The rebooted Star Trek universe hasn’t reached the same level despite reusing old characters, but in these movies the characters were largely unrecognisable from their old selves and more like caricatures of themselves. It’s an example of using recognisable names and settings without taking advantage of them or telling further stories about these characters. They might as well be blank slates, something completely new.
Star Wars has of course always struggled with the old and new cast. The Golden Era of Star Wars comics was when Marvel originally licensed the comics, exploring all the adventures Luke, Leia and Han were having. Splinter of the Mind’s Eye largely falls into this category. Dark Horse began to expand the universe with new settings, cast and characters with little to no connection to the original cast, but nevertheless didn’t conflict with those characters. Even further, stories like the Shadows of the Empire were treated as if they were movie events without the movie. Nevertheless, new stories based on the universe were met with as much critical acclaim as stories based on the original cast of character. Whether or not Disney intentionally let down fan expectations is somewhat an open question. While it’s not uncommon to drastically change characters, it can backfire immensely if it’s not organic change and is completely untold. Disney Star Wars has the habbit of not expanding on events or reasons. Instead additional one-liners trying to function as exposition has been put in, which shows more how lacklustre the overall planning process and writing has been. Return of the Jedi left things off in a hopeful, bright manner, which was effectively killed by repeating A New Hope. Luke’s bright future was killed off by him becoming a murderous hermit, Han’s position as the husband of an heir of a dead planet was nulled and all the roles these characters had were removed in order to promote new characters. To lacking success, as Disney Star Wars has taken a profit plummet ever since their released their first entry. Incidentally, Mandalorian has been received in a better manner, mostly because it has expanded already familiar universe without infringing on the established characters, something the movies are at fault to a large degree.
Some writers will laugh at the audience for connecting with fiction. To some it’s a passionless job, something they do for money like any other office worker. Some creators do create a similar connection, while others simply come in to do whatever. Nowadays it’s not exactly a rarity for a recognised and already established brand to have a writer who want to do their own thing without any regards what’s already come. While we can argue over how much a writer needs to be slave to the past writing, what they can’t ignore is the customer expectations and wants. If they end up butchering the characters, the setting and overall overturn what the audience has come to love in a work, well, they can only take the heat. The continuity of these characters stories, even if they’re new stories with little connection, is the living flesh of the audience’s attention and love. Cut that away, and all you have is meat that can be consumed once, and all you’re left is bones and guts.
What are you going to do with a brand that is unrecognisable from what made it popular in the first place? Replace it with something completely new is the answer sometimes. Other times, the best method is just to reverse course and turn back.
The concept is well tested and solid; have your main story supplemented with additional works, such as comics and novels, that expand on the core work. This sort of franchising has become extremely popular to the point of being a standard practice and very few standalone projects get made any more. Even the Marvel Cinematic Universe has seen its stories expanded in aforementioned media. This always leads to the question of canon, where the main piece always trumps over whatever the side material has stated. Hence why canon barely matters, when anyone in charge can say what really happened, sometimes wiping few comics away, sometimes erasing whole decades of supplementary material.
Nevertheless, they’re secondary at best. Licensed works to make some money out of the IP while the main thing is wiring its next stuff up. The stories and characters told in these works don’t really matter, and never have. Only decades later, when fans who grew up with these materials, may make references to them in proper works, giving them some legitimacy in the eyes of fellow fans. That’s all fine and dandy, no harm done by having someone in the background mentioning Life Day and reminding the people in the know how bad Star Wars Holiday Special is. It’s butt of the joke, it’s done to death, we get it.
Star Wars and Star Trek are great examples of this as both have extremely extensive supplementary material to go with the main works. The general rule has always been that what’s on the screen overrides whatever’s in other works. While they’re advertised as further adventures of our heroes, and for the time being they probably are, they’ll always be overridden when the IP owner comes up with something new, something that can be capitalised on. Prequels and midquels are sort of comfortable ground to many, as they’re mostly based on sayings and history told in the main works, so it’s easy to take the premise and go town with it. It doesn’t exactly require creating something completely new from the ground up. Hence why you often see sequels lifting material from the old stuff or reusing characters and settings. Jean-Luc Picard and all the re-used assets from the cutting room floor in Disney Star Wars movies are examples of this.
All this a somewhat inconvenient arrangement, but it makes two things possible; it doesn’t demand the audience to rummage through hundreds of pages to understand a new TV-show or a movie, but also allows them to engage with the IP and characters further. There’s this silent agreement with all the parties that it is probable that all the side content will be ignored when a new movie or show rolls in. Which happens all the time with pretty much every single large franchise out there.
There are of course times when this fails. The Rise of Skywalker had a collaborative event in Fortnite, where Emperor Palpatine’s speech was introduced. The returning villain and one of the major points of the plot, which was used in the beginning crawl, The Dead speak, was introduced and used in the aforementioned event. This effectively cut a section out from the movie, the message Palpatine send to the galaxy to announce his return, something the characters all react to and is the impetus behind the movie’s events. If you weren’t playing Fortnite at that time, you effectively missed something the core work, the film, should’ve had.
Too often Star Trek and Star Wars novelisation have been used to correct mistakes and loopholes in the main body of works. Loads of Trek novels based on The Original Series episodes were used to effectively fix continuity and conceptual errors within the episodes themselves. Similarly, The Rise of Skywalker‘s novelisation reveals that the Palpatine in the movie was a clone. Whether or not this is canon is of course for the fans to debate, as none of the corrections and fixes are rarely talked in the main body works. It’s not uncommon to see books and comics being published that fill in holes with some plot putty, sometimes even explaining whole backstories and events that were completely lacking from the main works. We can understand that a movie can’t set up decades worth of background story in a short time, and sometimes it doesn’t need to. The original crawl at the beginning of Star Wars Episode IV is work of sheer genius, setting up the premise. Further into the movie, short discussions about the Clone Wars as a background material elaborated on some bits, but those there to colour the world further. With Disney movies we have the gap between Episode VI and VII, which is just a void. Even after the last movie we barely know what happened, where did the First Order truly come from and why did the Emperor allow the Empire to fall just to wait thirty years building Star Destroyers under ground with gimped navigation systems. Maybe it’s Abrams’ mystery box killing the work again, maybe it’s just outright bad writing. These explanations of course are found in the supplementary material, meaning the work can’t stand on its two feet.
You could of course argue that this weaves the main work and the supplementary works together better, that it allows exploration of these events and concepts in a grander scale compared to what movies and television could. This is completely true and has been supported by multiple franchises for some decades now, mixing and matching each other punch to punch. The problem is of course the future. Be it removal of old canon or a new “real” work taking place of that timeframe and overriding the current works, supplementary material never really can stand the test of time. Not unless the creators are adamant on keeping one continuity and will always take notice what happens across the whole franchise. That task is nearly impossible, though if you were to hire bunch of people just to follow what the hell’s going on in your setting across all media, it would become manageable. Imagine if your day job was to read every Star Wars book and comic just to tell the future writers of whatever series or movie they’re making what stories and settings have already been used, and what are their historical consequences. Somebody’s dream job right there.
While you could boil this down to Canon doesn’t matter because it always changes, but that’d be missing the point here just slightly. We’ve seen the main work been put on the chopping block and some of its important elements have been cut off, only to appear elsewhere. This weakens the main work, but it also makes the story’s canon that much weaker. If you’d need one more example of this, the 2009 Star Trek reboot movie doesn’t ever tell what Nero was doing in the past after he came through the wormhole. In the movie, he’s just sitting there doing nothing and waiting for Spock to pop in. However in the comic he was captured and enslaved by the Klingons, making his escape and reclamation of the Narada that much more important. After seeing his home world destroyed, seeing Vulcans’ inaction as betrayal despite putting everything he had in their hands, and then forced to the past and for years being unable to do anything to prevent that from happening, Star Trek could’ve had its best and most understandable villain. All that was from the movie, making him just a jackass with a vengeance. It’s only a matter of time before someone writers a new book or a comic that explores this further, erasing already established events in the comic, which already is questionably canon. The comic version’s story is that much stronger compared to the movie, but it’s the not the story. It’s just an alternate take, which some people supplement the movie itself with.
Here’s a way you could make cross-media function for their own benefits without taking away any from the main work. The Mad Max game from 2015 was supposed to be tightly connected to Mad Max Fury Road, but ultimately wasn’t. The two would have supplemented each other, but only in a manner that there would not have been anything missing from either work. For example, the Pursuit Special is missing its spoiler in the movie. Not a huge detail, something most people probably missed altogether. However, in the game it would’ve been a collectable item with some story tied to it, adding to the overall story of Mad Max. We don’t know what these details were going to be, as the game was completely revamped and reused two decades worth of abandoned concepts alongside concepts for possible future movies. If you’re a fan of Mad Max, the game should look and feel extremely disjointed and somewhat schizophrenic because of this.
This is really convoluted and lengthy way to say how works, even sequels, need to be standalone enough to be consumed as-is without any surrounding media taken into account.
When Warner Brothers gained the ownership of Detective Comic, or just DC, they didn’t buy it for the comics. They bought it for the IPs and all the money that came with them. The comics were, and still are, just a side gig for the main purpose: to farm out the comics of their usable material and make proper bucks on television, movies and merch. Marvel has, ultimately, become the same kind of entity for Disney, though Marvel was this kind of IP farm well before in the 1990’s before Disney’s purchase was looming in the horizon. It’s a rare industry where it was intentionally screwed over my marketers and CEOs that had nothing do with the creation of the comics themselves. Then again, your normal comic writer and artist isn’t a jack-of-all-trades and often suck with the business side of things, which often can lead swift downfall of a label even if the books were well made.
Then again, the comic book industry has always been full of people who want to abuse others, steal someone else’s thunder for their own gain, stab people in the back to undermine deals and such. While this is somewhat common in every field, the American comic industry is marred with people and stories of someone effectively screwing their partner over because of money. One of the best examples is Bill Finger, the person who effectively created what is recognised as Batman nowadays, with Bob Kane’s original concept being trash and trashed. Another would be Todd McFarlane, who quit Marvel with other writer-editors to create Image Comics in order to fulfil the dream of creators owning their characters. McFarlane is a massive hypocrite for championing such cause, but then claiming that other writers and artists were only hired to create characters for him. The American comic book industry is full of stories of creators turned business, and they become the exact same kind of businessmen they hated while being under their heels. Some of the stories that float around or have been discussed to lengthy extends, like in SF Debris’ Rise and Fall of the Comic Empire series, are more fantastical than the comics themselves. It’s no surprise that an industry that carved itself into the American culture found itself loathed and shunned, only to be used like a cheap whore whenever their parent companies needed something to be squeezed out.
The sad thing is, the mainstream American comic industry deserves every bit of loathing and mocking it gets, if not for anything else but for essentially starting its own slow, painful death that’s still going on and only somewhat saved by the digital revolution. The single most destructive thing the American comic industry saw was the removal of comics from general grocery and drug stores and segregating themselves into specialised comic stores, which then became livelihood to some alongside the comic merch, card and board games and some such. Diamond, the distributor with a monopoly position, is the only lifeline these stores had for the longest time and the current world situation is rocking that fragile balance, especially now that Marvel seems to turn to digital more and more with their comics. It’s a situation that the industry and the very core customers have cultivated throughout the last decades, and now they have to face the fact that it isn’t all that viable. The best selling comics now have the same number of sales as most of the cancelled titles in the 1990’s or earlier.
It doesn’t help that the writers and artists themselves are unprofessional, to put it lightly. These are people who can steal someone’s life defining work for themselves because of money and (relative) fame, so it isn’t surprising these same people lash out at the general population and at their own fans. When a writer tells straight up not to buy their comic for whatever reason, the comic stores feel the hurt. Harassing your own consumers and raving on the social media falls into this category as well, and it’ll never end as soon as these people keep getting all that attention. It’s one of the reasons why, in general, both the American and global culture has deemed these mainstream American comics as not even worth the paper they are printed on.
Both the comics and its creators are the reason why American comics are regarded as low-tier entertainment with little intelligence to them. The mainline American comics had almost solid full century of laughable content. Yes, they had great stories and deep explorations of human psyche. Yes, they had absolutely marvelous artwork and broke ground and defined a whole visual style. At the same time these great stories were also extremely childish and directly made for kids, their exploration was weak at best. The artwork was still marvelous, and then co-opted by “real” artists to be actually defined and used. Andy Warhol being the best example of an artist who plagiarised comic panels by blowing them up in size and making millions on other peoples’ works. Nobody blinked at this, because at the time, and barely even now, comics were not considered art. The perception of comics being for children with their colourful pages and less-than stellar writing, hasn’t exactly changed, but it has morphed into that comics are for fat nerds who haven’t left their parents’ house and barely have any work. As inaccurate as that is, to a large extent, the comic book stores don’t help with this. On the contrary, it might’ve been the originator of this view as well as the continuing perpetrator. Just shower yourself before going to a comic or game store, please. That alone helps a lot.
The fall of the American comics in the late 1990’s and early 00’s were one of the reasons why Japanese media, both comics and cartoons, took so much hold of the new millennium’s ten’s. With a new generation seeking something new as well as offering an alternative to languishing American comics, which also had constant down spiral of quality to the point of breaking some of the characters completely, it’s no wonder the Eastern media managed to carve itself a niche. Of course, this wasn’t a new thing, Japanese media had been making its way to American mainstream for several decades at that point, but until then it was either relatively underground or heavily localised to the point of being unrecognisable from its source material.
The American mainstream comic book industry would have died few times already if not for the fervent support of its customers. Customers they constantly keep attacking nowadays. It’s an industry that’s not exactly what we could call healthy, but it is invaluable as an idea farm for the big companies. All the negative and stereotypical stuff that’s touted about these comics since, well, from the beginning, still applies to them. It’s and industry that should’ve died few times around only to be rebuild stronger, but rather it has been kept on life support, along all the comic book stores. As sad as it is, the characters we see in the comics are not the ones that are integral part of the American culture, and to see their more iconic visages, you have to go to the cinemas. (If all that wicked tongue’s are true, that’s not going to last long either.) After all, the cinema is the highest peak American media can reach. Comic books, on the other hand, is at the bottom of the barrel alongside video game journalism.
With nations going to lockdown modes, travelling being restricted and products unable to move from place A to place B, the world faces changes. Some of the changes will be long lasting, while others will be temporary at best. In a way, we’re faced with a moment in time, where only the essentials should matter. If you’re not directly in relation of producing foods or essential services, or are able to work from home, chances are you’re going to miss some work. Entertainment is, to be brutally honest, is probably the least important part of life. While the modern society is mostly used to have content provided via whatever screen we choose, numerous places that offer entertainment outside your home environment. For example, the movie theatres are effectively closed for the time being, hurting their income and their workers’ pay. With the theatres closed, some of the studios have opted to stream their movies in much faster order than usual.
The discussion of digital superseding over physical is often only about the media, how games, music and movies are going to vanish from the store shelves in the future and be replaced with digital-only counterparts. While this is extremely rosy view of the future, this discussion should also include automatisation as an essential part of it. Some types of work will be replaced with their digital and automated, and on the long run, most work from medical care to translation can be automated. It’ll just take long time to get there, improvements in special kind of AI and automatisation, but nothing’s really out of question. At some point we are going to have discussions whether or not we are going to allow digitalisation of work to replace human workers in some particular fields. Futurism.com has an article about Artificial Intelligence that is able to make more accurate diagnoses as a doctor than a human one. In time, digitalisation will take things to the point that consumers will be taking goods and be served by automatons. Digitalisation promises offers of superior experience every which way. It is already spilling out from factories and whatnot to digital environment, where 3D models are already used to entice viewers to enjoy video contents more.
Though who needs mp3 players or whatnot when you can have a non-digital automaton playing tunes for you
The whole Virtual Youtuber thing is digitalisation at its best. Sure, you have someone acting behind the character, but the 3D model removes all the needs for the actors to change their body structures or put make up. Chaturbate users experienced what it means to compete with automated content, when Projekt Melody shot to the top and displaced most of the top models and was raking in money like no other. Projekt Melody is effectively a VTuber for porn and offers the exact same benefits that other automation offers; Better results in less time, and end result that will entice more customers. It’s more efficient and with the provider being able to deliver whatever visual designs and flavours the customers want, Projekt Melody is able deliver harder and faster the same experience live model have to work hard for. This lead many of the models on the site rioting, of course, resorting to name calling Projekt Melody’s viewers and fans (despite these exact same people are their potential customers) as well as claiming this was unfair competition. In reality, they are now facing the first steps in having digitalisation and automatisation entering their field of profession.
Digitalisation doesn’t straight up mean that robots and automatisation replaces someone’s work. Well, in practice it does, as rarely the same person is trained to maintain the automation. At least one human has to be behind automated work to keep it in check, to ensure that it runs well. A welder would do good by aiming to move from manual welding to become a robot operator, if possible, as in time welding in factory conditions will slowly but surely replace the human worker. The companies themselves might be against this, be it trusting human worker more or due to sociopolitical issues, but robots will always end up being more efficient than the humans, be it in the factory, in the doctor’s office or something you want to jerk off to. We are already happily using platforms that are supplanting physical environs. Netflix may be new television, but it has been said to be the reason why movie theatres are dying, online shopping has been replacing physical stores (which is a terrific example of its implementation as the customer feels like their doing something significant and non-automated), especially now that you can order your foodstuff to be delivered to your door. I wouldn’t put it past the post offices around the world to aim replacing their postmen with drones, like how Amazon is testing their drones. It all might have a high up-front cost, yet on the long run it’ll be that much cheaper. This is one of those things where companies may not want to prioritise short-term gains over permanent long-term gains and begin automation. Current structures may not support automated environments straight up, but all that is easy to change.
While digital media has not phased physical media out, there is a possibility that the infrastructure for that is being implemented at this moment in time. After that, there really isn’t a need to go back. Digitalisation and automatisation go hand in hand, and while customers are now inconvenienced by the epidemic, the most inconvenient and easier way to consume and explore entertainment is digitally. The discussions about consumer rights and ownership is not even thought about, something this blog has been discussing to a major extent in the past. Consumer behaviour has been drastically altered now and it is possible we are seeing a strong paradigm shift. Not only customers are going for the digital option, either because of fears or convenience, the companies have to make due with whatever production methods they have at hand. China’s factories being closed means everything has to be postponed or other forms of delivery (i.e. digital) have to take priority. Local production may be emphasised and thoughts about becoming more independent from foreign produce. Of course, some nations can’t really match up the sheer volume in production others can achieve, which will lead into local produce being costlier than imported. Whether or not this would be a chance to increase local production, or if people will simply change their habits of consumption, is open in the air. It’ll be interesting to look back few years from now to see how both customers and industries have changed.
The customer chooses whether or not you succeed or if you fail. This can’t be overstated, but what has been understated that not all customers are one group. Take a sample of any consumer group, be it fans of a franchise, soda drinkers, candy eaters or whisky juggers, you’ll always find that they have something in common and something very much uncommon with each other. Within your target audience, you can’t appease everyone. You can hit different parts of your target audience with multiple products that appease different varieties of tastes, even if those tastes might clash harshly against each other. There’s a reason one of my random banners at the top is quote from Sam Walton, the founder of Wal-Mart, stating the there’s only one boss, the customer. Money moves almost everything in our daily lives, from the power you’re getting from your wall outlet to the clothes you’re probably wearing. Simple change in spending habits, like going to another chain’s store than your usual one, can affect things rather strongly. While the Internet has made campaigning against and for something so much easier, compared to letter campaigning or phone calling, the best form of stance taking is still hitting where it hurts the most; the wallet. However, wallet voting has taken hit on how effectively it is. The Internet has allowed movements to become louder and more obtuse, especially with the advent of social media. This has obfuscated the real amount of consumers doing anything, as majority of consumers are still silent. That is to say, most companies hear the voice of the minority of their customers, which leads only small sects sometimes impacting production, sales and whatnot of products that would otherwise have normal sales. Reasons vary, from mother’s campaigning to pull out GTA V from Target’s store shelves in Australia or some animal awareness group pointing out how Pokémon is animal abuse, you can take your pick from whatever ideological and political spectrum and you’ll find a group that’s making noise.
The creative industries have a hard time dealing with consumer wants and demands from time to time. Individual entrepreneurs have probably the hardest time finding and keeping a customer base. Individuals have to do everything on their own, and very few realise early on that having sensible finances and being able to keep your own book is highly important. Nowadays it is easier to find your own niche, though competition is even fiercer. Despite the rosy image of an artist giving his heart and soul to the piece and sees the world celebrating it, the reality is that artists still work in a service industry and their work needs to reflect the consumers. While art is culture, it is also a consumable. Only a fraction of a fraction of works that get cited as art will enter the cultural lexicon, something that’s becoming ever increasingly difficult as out 24/7 cycle of everything sees everything getting old within a matter of days. Fifteen minutes of fame has been reduced to closer to five.
This has lead some to question if fans, a.k.a. consumers, have too much power over the products they consume. Or to put it like BBC Culture did, are fans too entitled? To touch the opinion piece a little bit, it mostly covers history of fans able to change and influence creators, citing examples like Sir Conan Doyle resurrecting Sherlock Holmes ten years after killing him off due to an intense reaction from the readers. For 1893, maybe ten years was long enough time for the books to spread. That, or in reality the considerable large sums of money ultimately changed his mind. After all, that made him one of the most well paid writers of his time. Stephen Kelly, the aforementioned piece’s writer, considers the change of Sonic’s model change in Sonic the Hedgehog unprecedented in modern relationship between artist and fan, something that is false. Video game characters have seen redesigns from time to time for numerous reasons after fans backlash, or have the perceived atmosphere has directly impacted the designs. This most notably has affected female characters, while the male characters have been left mostly alone. From Final Fantasy VII Remake‘s Tifa being more toned down compared to her original design (despite still getting riled by some) to something minor like a win pose being changed in Overwatch. While changing how Sonic looks in his movie resulted in tons of good PR, and the staff have been saying the fan feedback was invaluable. Whether or not this is a positive example is really up to you. Whether or not you prefer the original movie Sonic design compared to the current one.
The point of the piece is whether or not fans have entitlement over the things they buy. One example she cites where a minority of fans hammered down a movie despite critics and other fans liking it is The Last Jedi, though now that we’re two years after the fact looking at the results of the film, and how it affected the franchise as a whole, it wasn’t exactly a minority that rejected the movie. Sure it has its core fans, but the culture and general consumers at large simply for numerous reasons, which all can ultimately be bogged down as They didn’t like it. The franchise is feeling and reeling from the after shakes still, and will be for the foreseeable future. Kelly tying identity politics with Star Wars and the 2016 Ghostbusters is false, as the 2016 Ghostbusters is simply a terrible movie that failed to launch a new franchise for Sony to bank on. Then again, #GG is used as a boogyman in the piece and represented highly inaccurately, and really has nothing to do with anything aforementioned. There is no true conclusion to Kelly’s writing outside Fans are the problem, but fans are also the solution, which really means jack shit.
Let’s take a recent case about fans being split about a character redesign. A Japanese illustrator and character designer named Ban was employed by Flame Toys to redesign a Transformers character named Windblade for their Furai Model line of model kits. Flame Toys is known to redesign characters while working under Hasbro’s license, and these redesigns can be drastically different from the original works. If you check Ban’s Pixiv, you will notice at least two things; clean and smooth style, and that a lot of his works are Adult Only. His works are hard to represent in plastic due to him employing some shading and linework that works only in 2D. After Flame Toys revealed Windblade’s physical prototype in New York Toys Fare, there was a backlash against the design, forcing them to take down their posts on social media. The designer, Ban, still retained the prototype images on his Twitter.
Arguments about this design were conflicted. While a portion disliked it, a larger portion seems to like it. Difference is, most of the detractors on social media were English speaking customers, while the customers with positive feedback shared both English and Japanese. Unsurprisingly, few different posts explaining the backlash to the Japanese fans popped up, to which some Japanese laughed at and some thought the situation was unfortunate. Criticism ranged from it not being aligned with the original design of the character, which should have been a given seeing this is a Flame Toys product and that The Transformers toyline is full of redesigns of all sorts, to all the way how Ban’s design gave the character bikini, despite Wingblade’s bust and crotch always had red accents, as seen on the right. The wings where a sticking point to some, as they seem to be clipped in Ban’s redesign. This is of course natural, as Ban emphasized their nature as the bow in obi, the sash Japanese use with kimonos. I didn’t hear anything about the head crest’s size, but some issues with the second proto photo’s pose, and some were asking why the other, masculine models weren’t put in the same position. This is an example of false equivalency though, as what attracts men and women, and what shows their best sides, is different between the two sexes. The two sexes also value each other in different ways, emphasizing regions of body in altogether different manner, which is very much apparent in most more designed Transformers toys, where masculine emphasizes can be seen on broad shoulders, well defined chest and flat, sixpack stomach regions. Let’s not forget strong chins.
The fans were split, and not evenly even. This is an example where smaller sections of the target consumer group was split on a character design. You had a section that disliked it, you had a section that was as vocal about liking it, and then you have those who don’t really care. This is a gross simplification, as the reality is that there are thousands of small fractured groups working under similar umbrellas. Some have echo chambers, some don’t even interact with the rest of the fandom, and some simply had no interest on the topic as it was about a model and not about a transforming toy. Considering Furai Model kits are targeted at adult collectors, the niche audience this model was targeting most likely already excluded a lot of voices on both sides. A French Youtuber put many peoples’ thoughts rather well; There is a store package version for children, and this model kit is clearly not for them, but one of the many adult collector’s figurines. It’s pretty funny to use the term “objective” about a machine… Last bit of course refers to the complaint that Ban’s design is sexist and makes women sex objects. It considering this is a robot toy, objectification of a fictional robot is expected, as that’s what making a toy is. The design is sexy without a doubt, with expected curves, but as a friend so elegantly put it, You’re telling me Ban draws something else than boys with dicks? the design is rather held back from what it could have been.
If we are to consider the creative industries, or just arts, as something untouchable by external forces, why shouldn’t Flame Toys celebrate Ban’s redesign of Windblade and sell it to the customers? Or should they listen to the part of their broader possible customers and cancel it, losing whatever money they’ve had thus far in the production? If we were to stick with the idea that art should be independent and ignore both positive and negative feedback, Sonic’s designs wouldn’t have changed and Flame Toys would still have their New York Toys Fare posts up just fine. Some might see this as false equivalency due to supposed ideologies and whatnot, but stripping all the excess fat off and getting to the point, it’s all about customers voicing their opinion on a revealed character design.
Every kind of design and form of media has its customers. One thing has more than other, I doubt anyone really contests that in a serious discussion. However, not all products require to sell high numbers. Prestige and deluxe products are intended to be produced in relatively low quantities but in high quality. Their price tag represents this, often tacking more than few zeros at the end. The main difference between the two main examples in this post, Sonic the Hedgehog is intended for all audiences at an open marketplace. Furai Model Windblade on the other hand is (maybe was at this point) targeted at a niche of a niche market, an adult collector who builds robot models. The two markets are at rather opposite ends in popular culture media landspace, but not quite.
There’s no real stance here regarding the blog. While one of the stances this blog has is pro-consumer, it also supports the idea of companies looking at the cold data over customer response. The reason for this is that the customer doesn’t know what they want. We as customer think what we want, but when we’re given options to choose from, we often find ourselves picking something completely new, something we didn’t expect we’d want further down the line. Despite customers voicing their disagreement at times, offering variety of products is as important to hit all the niches in your targeted customers. This of course leads into juggling with the PR, both positive and negative such move creates, but that’s business as usual, as this is a chance to use both positive and negative attention for net positive gain.