Japanese Animation

Japanese Animation, also called Japanimation or anime, is becoming popular throughout the world. It has captured the imaginations of children and adults alike. Japan has put a twist in what we call animation, using mature themes and killer effects.

Anime is a detailed cartoon coming from Japan, in which complex and mature themes are used. “The term anime refers to a distinctive tradition of Japanese animation that is almost immediately recognizable by its superior artistic quality as well as by the somewhat mannered artistic conventions anime artists employ, such as the preference for child-like, large-eyes” (Encyclopedia). Japanimation is not a genre itself, but contains many different genres. The animators focus on minute details to create life-like characters, settings, and situations, as well as experimenting with different camera angles. Unlike the Disney films that we are used to, Japanimation is “a demanding rollercoaster of a ride for people of all ages willing to explore the outer limits of their fears and longings” (Japanese). The characters are drawn with both Japanese and Caucasian features. Sato believes “the characters of anime show the Japanese as they would like to see themselves” (Japanese).

Many “laws” apply to anime characters and situations. Anime characters come in many forms, some pertaining to genetic mutations, and are very detailed to be life-like. One in general would be the feline mutation. These half-cat, half-humans are usually female, and “possess ears and sometimes a tail” (Bright). An example of this would be Ryoko the Space Pirate in Tenchi Muyo. Ryoko possesses the aforementioned tail. The hair of the characters may be “any color in the visible spectrum” (Bright), which would be considered natural. These colors may change at any time throughout the series without explanation. The style of the hair is indestructible, and “can resist any amount of meteorological conditions, energy emissions, physical abuse, or explosive effects” (Bright). The only way to harm a person’s hair is to use bladed weapons. The size of a character’s mouth will be directly proportional to the “volume at which they are speaking or eating” (Bright). The eyes are usually drawn rather large, due to the fact that they contain several gallons of water that my be released at high pressure through their large tear ducts. This may be because they only have one large sweat gland, located at the back of the head, which secretes a large drop of sweat when stressed, embarrassed, or worried. When characters must have two identities, wearing a simple costume or a small mask will make them unrecognizable to their close friends and relatives (Bright).

Archetypes play a major role in Japanimation. When “good guys” group together, it is usually in the number of five. These five characters hold the five basic positions, “the leader or hero, his girlfriend, his best friend or rival, a hulking brute, and a dwarf or kid” (Bright). There are three attributes that these characters may have, “extreme coolness, amazing intelligence, and incredible irritation” (Bright). One example of this five man rule is the Ronin Warriors. The leader is Ryo Sanada who possesses the characteristic of incredible irritation. In this case, however, there is no girlfriend among the main five, although Mia Koji does play an important role in helping the five reach their goal. He doesn’t really have a best friend or rival among this group either, although Rowen Hashiba and Sage Date could be entered into this archetype. Rowen and Sage each possess amazing intelligence and extreme coolness. The hulking brute would be Kento Rei Faun, who has incredible irritation as well. The smallest of the group, although the oldest, would be Cye Mouri. Cye plays the part of peace-maker among the other four. Villains have now been known to find honor in their opponents and may be fighting for their homeland, instead of personal gain. Women play more important roles, such as the aggressor or protector instead of the damsel in distress (Tartaglione).

The attire of characters is mostly dependent upon the role that the character has. Most all anime characters are “resistant to extremely cold temperatures, and do not need to wear heavy or warm clothing in snow” (Bright). Male characters may wear a cloak that will not hamper their movements and will billow out behind them. Females will wear as little clothing as they possibly can, “regardless of whether it is socially or meteorologically appropriate” (Bright). Bikinis will prevent any form of damage to come to the wearer. All females have an “extradimensional storage space of variable volume... from which they can instantly retrieve any object at a moments notice” (Bright). A common item is a heavy mallet that may be used with infallible precision on any male that deserves it. Other items may include costumes or uniforms, power suits or armor, or even large bazookas. In the case of feline mutation, they are like other females, who will wear as little clothing as possible (Bright).

All anime has some form of fighting, therefore wounds and deaths are inevitable. Most characters become so involved in their fight that they do not notice “the little things... like missing body parts, or wounds the size of Seattle” (Bright). All fatal wounds tend to emit a form of light. Characters die in one of two ways, it may be so quick that they didn’t see it coming, or “it’s a long drawn out affair where the character gains much insight to the workings of society, human existence or why the toast always lands butter side down” (Bright). In the case of the “bad guys,” it takes a while for them to die, regardless of the physical damage. Even if they were killed so quickly they didn’t see it coming, it still takes them some time to realize that they are dead. “This is attributed to the belief that being evil damages the Reality lobe of the brain” (Bright).

During fight scenes, the animators use different camera angles and glowing auras for more effect. They use this technique especially when a scene is seen only once, for example, “a ‘good guy’ kicks the ‘bad guy’ in the face” (Bright), is seen three times from three different angles. If a being displays a high level of martial arts ability or violent emotions, they may emit a light in the form of a glowing aura. Normally, blue is used for the “good guys” and red for the “bad guys. “This is attributed to Good being higher in the electromagnetic spectrum than Evil” (Bright). Although, on Ronin Warriors this is not true. Each warrior has his own color, for example, Ryo has a red aura and Sage has a green aura. These are emitted when they become extremely angry or when they use the extent of their abilities. When the “good guys” transform into their armor, “regardless of how long or involved the transformation sequence or how many times they’ve seen it before” (Bright), the “bad guys” are always stunned. In addition to the “bad guys” there are the demons. Demons can “only be hurt by bladed weapons” (Bright). These supernatural creatures possess three eyes or more, fangs, and are either yellow-green, brown, or black (Bright).

In some anime shows there are roles for juveniles. The children “are smarter then adults, and almost always twice as annoying” (Bright). For example, Yulie, from the Ronin Warriors, was the cause of most irritation throughout the series. If he was smarter, he didn’t show it. If a boy gets sent to do a man’s job, it will be done in half of the time, yet with twice the amount of angst (Bright).

Forms of military and weaponry are included in all anime. A weapons destructive potential is inversely proportional to its size. The A-Ko phenomenon states that “small and cute will always overcome big and ugly” (Bright). The amount of ammunition is endless, unless, of course, the character is “cornered, out-numbered, out-classed, and unconscious” (Bright). A caring emotion or a song is capable of stopping galaxy-wide armadas, armies, and war-machines of cruel and heartless, bloodthirsty warriors. When the difficulty of a shot increases, the “good guy’s” accuracy increases. Although, when the difficulty of a shot decreases, so does the “bad guy’s” accuracy. An example would be, battalions of the “bad guys” will always miss a “good guy” standing in an open field alone. Therefore, the more “bad guys” there are, it is less likely that “they will hit anyone or do any real damage” (Bright).

If the “good guy” is being faced with overwhelming odds, his opponents will line up in rows, allowing him to take them out easily. If the “good guy” happens to be hit, it is usually a flesh wound in the arm or shoulder. This will prevent them from doing anything more strenuous than “driving, firing weaponry, using melee weapons, operating heavy machinery, or doing complex martial arts maneuvers” (Bright). A weapon powerful enough to destroy and defeat the opponent in one shot will be used only as a last resort. The amount of formal training needed to operate some form of machinery is inversely proportional to its complexity. For example, Bulma, from Dragonball Z, is required to pilot a Namek spaceship to return to the planet Namek. She is an earthling, therefore, she does not know the language Namek, but she easily masters the craft (Bright).

Time is not constant in anime. Time tends to stop for the hero when he manages to do something impressive. If friends and lovers are being killed, time will slow down, and it will speed up during a fight. Fights are always over with within a few moments, and it seems like it takes for ever for friends or lovers to die. During fights when there are extreme amounts of action they use “either still-frames or black screens with a slash of bright color (usually red or white)” (Bright).

Everything in anime explodes. Before something explodes in will bulge first. “Large cities are the most explosive substances known to human science” (Bright). The most unstable is Tokyo, probably because this is where all anime takes place. It is sometime referred to as “The Matchstick City” (Bright). Before the firing of large weapons there is an energy build up, also referred to as an energy bulge, possibly because of the explosive qualities of weapons (Bright).

Japanimation has become rather popular across the world. Hello Kitty and Bad Badtz Maru has become popular among teens in the US through merchandise, such as handbags and other accessories. The maker of Hello Kitty, Sanrio, made $1.2 billion in worldwide sales in 1996. “Mr. Friendly creator Super Planning Co. does $24.4 million in annual business” (Parr). Ghost in the Shell alone has sold over 200,000 copies in the US. This movie has generated “CD soundtracks, a Playstation game, a DVD and more” (Savage). According to the LA Times, anime has made $60 million per year in the US. Pokemon: The First Movie earned $52 million in five days from the Japanese video game, TV show, and trading cards. “I love the detail and the quality of the artwork done by the artists; plus, I find the story lines very fascinating and intriguing, and it is just something that catches my eye” says Cassandra Lewis (Lewis). Japanimation thrives in the UK. Akira, the UK’s topselling video, “has topped 75,000 units at 12.99 pounds ($15)” (Dean). The United Kingdom grosses around four million dollars. First place of wholesale revenues is held by the UK with 2.5 to 3 million pounds ($3.75 million to $4 million) (Dean).

“Japanese animation is soon to face extinction in France as its biggest foreign consumer” (Tartaglione). Despite the abundance of products and a strong fan base, anime is endanger of withering away in France. Japanimation has been criticized because there is too many mature themes, such as violence. This makes it harder to secure timeslots suitable for these cartoons. Olivier Richard, the MCM (European cable musicvideo channel) programming head, says, “The market is getting banal, anyway. There’s a bit of poverty in theme. And prices for Japanese animation have gone up, making it less viable” (Tartaglione).

Japan’s largest domestic box-office success of all time is Hayao Miyazaki’s Princess Mononoke. Miramax, Disney’s art-film unit, translated Princess Mononoke and released it in selected theaters in the US in November 1999. Disney has followed up with another masterpiece from Mr. Miyazaki, Laputa, Castle in the Sky and was to be released in Spring of 2000 (Savage).

Japan has begun to embrace cost-saving computer effects. Before the use of computer graphics it was believed that these graphics were not compatible with the unique style of anime. The anime movie Lensman (1984) was the first to blend the traditional cel and computer animation. It was not until Ghost in the Shell (1996) that computers played a major role. These graphic elements were created by I.G. Inc. in Tokyo, under the company president Scott Frazier:

Originally, digital effects were used in Ghost just to enhance the feel of ‘cyberspace’, But their use was expanded to various other scenes as well. For example, in one scene the background image is warped through an oddly shaped lens so that it looked like an invisible character was moving toward the camera. One of the most important uses of CG was a custom diffusion filter developed using Prisms software from Side Effects [Montreal] that was used to soften some of the scenes. When used with high-contrast images, the effect added to the atmosphere of the film. (Savage)