Week 2 - Japanamerica: Reflecting on the Disparity between Anime in Japanese and North American TV

Japanamerica by Roland Kelts, pg 1-121

In the first few chapters, Kelts introduces the historical introduction of anime to beyond-post-WWII American culture. He touches upon the story of Sandy Frank who, upon seeing the surprising success of the Star Wars franchise, saw the opportunity of adapting Gatchaman (re-branded as Battle of the Planets) to the American crowd. Hence, Japanese anime was introduced into mainstream America, starting with Astro Boy and Disney/Studio Ghibi style movies, then continuing on to this day through long running franchises such as Pokemon, Yugioh, Naruto, and more. Born and raised in Canada (where anime interest was arguably less prominent), I have not seen such cultural integration as described by Kelts. Yes, I observed many of the views of Japanese culture as described by Kelts. The highly admired and imitated sushi eating etiquette starkly contrasts with the sloppy American fast food restaurant expectations. The latest and coolest gadgets are automatically assumed to be made in Japan and on the top of wish lists. Energy efficient, compact Japanese cars are the rising trend. But when it comes to anime, my personal observations of cultural acceptance differ drastically from Kelts' descriptions.

My peers and I grew up watching Saturday afternoon cartoons such as Pokemon and Digimon. These followed the episodic journeys of young boys and girls striving to be the best they can be, overcoming all obstacles through sheer will power and teamwork. In a sense, they could be linked to the "American Dream" of a life of freedom, prosperity, and happiness. But it sold well to the younger generations, and the "Pokemon generation" and Western perspective of Japanese anime was established. The only problem was, this perspective was based on a series targeted on young audiences, with many deeper elements removed. Of course, all scenes of violence were extremely toned down, all long-term detrimental consequences of actions were blissfully ignored, and there was always a happy ending for everyone. What mature American impression of Japanese anime described by Kelts due to the successful reception of Gatchaman in the 1970s had been erased and replaced.

Fast forward a few years into high school. I would be watching series such as Mobile Suit Gundam Wing and Witch Hunter Robin, whereas my classmates would be dismissing Cartoon Network's PowerPuff Girls and Monster Hunter style cartoons. While obviously different genres in my eyes, they were all "kiddy cartoons" in theirs. When Puffy AmiYumi came out, advertised as the "next biggest anime series to hit North America", I gave up trying to convince my friends that there existed serious, deeper anime. Even today, what anime currently airs today in North America strongly contrasts with current Japanese TV. Try finding the equivalent of the action in Fate/Zero, the teen angst in Guilty Crown, the philosophy in Nisemonogatari, the slapstick comedy in Kill Me Baby, or even the love story in Amagami SS Plus airing during prime-time on North American cartoon TV networks. While many Japanese cultural differences are recognized and embraced by North America culture, Japanese animation has not yet reached the state of acceptance as a mainstream TV alternative.

~Philip Peng