#Anime Right News (ARN) – After detailing Crunchyroll’s mistreatment of Yaginuma-sensei (http://animeright.news/ecchioujisama/anime-industry-insider-tells-the-truth-about-crunchyroll/ ) he was kind enough to grant me an interview. We ended up talking for five hours. Anime Right News is thrilled to bring you this exciting look into the anime industry.
Note: This interview was conducted in Japanese. PANDA and I have translated it into English for the convenience of our readers, but do not claim that our Japanese is perfect. The original Japanese is printed for the sake of transparency and the convenience of our Japanese readers. Anime images and descriptions were added by me for readers’ entertainment; all other images were supplied by Yaginuma-sensei and have been reproduced exactly, save for adding some translations.
I trust that by the end of the interview the reader will agree that Yaginuma-sensei is /俺たちの監督/ or /ourdirector/.
ARN: Thank you for taking the time to speak with your American and European fans. How did you decide that you wanted to make anime? Were you inspired by a specific anime you watched?
お忙しいところ、あなたのアメリカの、そして、ヨーロッパ人のファンと話してくださってありがとうございます。 あなたは、アニメを作りたいとどのように決めましたか? あなたは見た特定のアニメによって奮い立たせられましたか?
Yaginuma-sensei: Future Boy Conan. Albatross. [TL: The 145th episode of the 1977-80 155 episode Lupin III Part 2 series, written and directed by Miyazaki.] Farewell Beloved Lupin (produced by Miyazaki-san). [TL: This was the last episode of Lupin III Part 2.] Don de la Mancha produced by Kanada-san. Yamashita Masahito-san’s chase scenes. Masayuki-san’s drawings of Sarutobi.
未来少年コナン。アルバトロス。さらば愛しきルパンよ。（新ルパンの宮崎さんの演出の回） 金田さんのドンデラ・マンチャ６話の回。山下将仁さんの作画が暴走している回。 摩砂雪さんの、さすがの猿飛の作画。
Anyway, Future Boy Conan is number 1. Probably followed by Lupin III: Cagliostro no Shiro.
ARN: Our readers love Netojuu because it focuses on improving one’s real life. Was that an intentional theme?
Yaginuma-sensei: This is something I recently discussed on Twitter, so I will copy and paste it.
It seems to have a good reputation, but there are a lot of painful memories. I decided to use it to fight against the anime industry. Originally, Moriko was slowly going out into society again, treating her progress like a job. Would you want to return to a BLACK company? [TL: BLACK company is a Japanese term for companies that overwork employees, underpay them and treat them poorly overall. Some people that work for BLACK companies and can’t find other jobs end up committing suicide.] Would she mature? Would she return to a BLACK company？We decided to tell this kind of story, and I could empathize with it. The theme of BLACK companies is interwoven into the story. That is why Moriko’s nightmare existence spans two episodes. Additionally, a real BLACK problem is revealed in the anime…
評判良いみたいだけど、辛い思い出が沢山。 アニメ業界と戦おうと心に決めた作品でした。 元々は、森子は社会にまた出ていく、成長していく〜みたいな作品だった。 またBLACK産業に戻るのか！？って、筆安さんが思い、ニートでもいいじゃん、幸せならば。そういう作品にするのを委員会が了承してくれた。 それで感情移入できました。 影にBLACK産業問題がテーマ隠れているのね、あの作品。 ２話の、森子の悪夢のシーンが気合入っているのはそのため。 あれはテーマの紹介シーン。 おまけにリアルにアニメBLACK問題が炎上していて・・・
Along with Fudeyasu-san, the three of us wrote the scenario, the core.
Yaginuma-sensei was a key animator on AKIRA.
ARN: Are there any stories you can share from working on AKIRA?
Yaginuma-sensei: AKIRA huh~I misfired. I was really new. Still, Otomo-san’s film was similar to anime of the time. Old timers say it was fine although the younger generation looks at it like a masterpiece. After all, a lot of people that went on to be important animators were gathered in the same place.
Royal Space Force: The Wings of Honnêamise and GAINAX launching had a huge impact. Young people with talent had to keep their heads cool. I thought these people were the new age [TL: of anime]. That is how it was.
However, until I took down Miyazaki-san to be number 1, I couldn’t be satisfied with my position either. It would be better to climb higher.
ARN: In anime we see jokes about not having enough time to finish anime or not having enough of a budget to make it the best it can be. Are these problems worse in real life?
Yaginuma-sensei: It’s beyond my imagination that people overseas notice. It becomes more cutthroat every year. The money as a whole grows every year.
海外の人も気づいたけど、それでも想像を遥かに超えるものだと思う。 というか、年々酷くなる。 年々、全体で動くお金が大きくなっているのに。
Is Foxcon similar to working in an iPhone factory? Unlike them, I like my job at the end of the day so it is never dark enough for me to commit suicide.
The budget too, but that was always a concern. The painting/CG process is more intense, and there is more that needs to be done. Although the company makes more money there is more work to be done and no more money paid to the artists.
Due to delays in the schedule, you could get stuck working all night until you burn out.
ARN: Are there any manga or light novels you would like to make into anime to educate the Japanese people about Jews?
Yaginuma-sensei: I want to write anime and mange about getting out of the current invisible slavery system. However, even though the anime industry has the lowest amount of Jewish infiltration [TL: of major forms of entertainment is implied], I have seen that larger budget works are impossible and their grip is tightening. I hope you can make it through the pathway, like The Matrix. I am already fighting within the anime industry. I made it all the way to being a director, but it probably won’t be possible [TL: to make that kind of anime]. The anime industry already feels like a miniature Israel. Jews are connected to dissatisfaction with anime. Originally I want to make a work that would allow the audience to be happy, so I was interested in why such works were being suppressed. I was surprised to find out that Jews were behind it when I looked into it.
今の見えない奴隷構造から抜け出す方法のアニメや漫画を書きたいね。 しかし、アニメ業界はユダヤの傘下のつながりの最下層だから、 予算が大きい作品は無理で、今も強くなっている事に気づいた。 マトリックスみたいに、上手く抜け道通り抜けて作れるといいけどね。 もう、アニメ業界と戦っているので、せっかく監督の地位まで来たけど無理だろう。 アニメどころでなく、ユダヤと戦い出した分けで。 アニメ業界は小さいユダヤみたいな感じ。 アニメで怒っていたことと、ユダヤは繋がっています。 元々は、皆が幸せになれる作品を作りたいわけだから、 社会の変なこと、抑圧されていることには興味がありました。 ユダヤは作品のネタ探しから始まったが、まさか此処まで詳しくなるとは・・自分でも驚いている。
When I was young I read Jonathan Livingston Seagull by Richard Bach and it made me cry. Now I understand that it was a story about being free.
若い頃に、かもめのジョナサン読んで、ボロ泣きしたのね。 その時は理由がわからなかった。 今は完全にわかる。 自由になるための話です。
Originally, Abe’s LDP conspiracy was on the true path! I was doing some casual research on a conspiracy theory. It proved the conspiracy theory and Abe’s involvement in it.
元々、安倍自民が陰謀が本当だった！と、証明しているような代物で。 それで少しカジッていた陰謀の研究をしていた。 陰謀論の証明になった、安倍。
ARN: In America and Europe Jews try to ruin the lives of anyone that tells the truth about the Holocaust. Do most Japanese people know it was an easily disproven lie?
Remember when anime casts looked like this?
Have you noticed that for the last ten years or so, anime casts have been looking cheerfully, jauntily, and one-sidedly female-centric?
Anime romances typically involve 15-year-old virgins. That is not just idealistic; it also simplifies the story a great deal. The boy doesn’t have to worry about catching venereal disease from the girl’s previous partners, for example.
Wotakoi breaks the mold by introducing a female character who is not a virgin as the romantic heroine. It is not clear how much sex people have in this show; Japanese fictional characters are considerably harder to figure out than real live Japanese people.
For the most part, this show relies on the gawkish, innocent tropes of romance between virgins, but these people are not virgins. They just seem to have acquired some sexual experience without acquiring much emotional maturity.
It’s fashionable to say that the friendzone is not a thing, or that the friendzone is just a bad rephrasing of “unrequited love,” but that’s not exactly true, and this show explains the complications. The heroine treats the hero as a reliable friend first and foremost, regardless of whether they are sleeping together. The heroine doesn’t have any trace of that dewy-eyed feminine vulnerability that makes a sexual relationship truly romantic – not with the hero, anyway.
So rather than saying that the “friendzone” exists only in the imagination of jilted boys, I would say that a one-sided lack of sexual chemistry is typically what makes the “friendzone” a reality. However, back in the days before easy divorce, there were lots of marriages with barely-functional sex lives that managed to produce children even though neither the husband nor the wife was very satisfied with the sex.
As far as I can tell, Japan currently has a problem with sexless marriages. There are apparently quite a few middle-aged married couples who have given up on sex. I get the impression that the hero and heroine could get trapped in a sexless marriage quite easily.
The characters are a little bit likeable and a little bit unlikeable. They are very much flawed people.
According to urban dictionary:
Have you ever watched “Urusei Yatsura” and thought, “This is a little bit kitschy, and silly, and sexist, but what if we turned the kitsch dial up to 11?”
It turns out that it was done in 1973. They hit levels of kitsch that should not have been possible.
It was like a visible, tangible form of autism made out of sheer kitsch.
You probably won’t be able to watch more than a few minutes of it without needing to hit the pause button and breathe into a paper bag to avoid hyperventilating.
According to urban dictionary, camp is:
1. something that provides sophisticated, knowing amusement, as by virtue of its being artlessly mannered or stylized, self-consciously artificial and extravagant, or teasingly ingenuous and sentimental.
2. a person who adopts a teasing, theatrical manner, esp. for the amusement of others.
3. An affectation or appreciation of manners and tastes commonly thought to be artificial, vulgar, or banal.
4. Banality, vulgarity, or artificiality when deliberately affected or when appreciated for its humor: “Camp is popularity plus vulgarity plus innocence”
adj. Having deliberately artificial, vulgar, banal, or affectedly humorous qualities or style: played up the silliness of their roles for camp effect.
So if I have got my definitions straight, Cutie Honey was not camp when it was made, just like Jerry Anderson’s UFO was not camp when it was made. It was only after the culture moved on from 1973 that the kitsch of 1973 could become entertaining to later people who look back on it; the act of looking back is an exercise in camp.
I am not sure how many convenient fantasy combat tropes Cutie Honey acquired from earlier TV shows. I imagine that wildly unrealistic live-action heroes must have contributed to the mindset of the writers. The famous live-action show Kamen Rider apparently debuted in 1971, so I suspect that it had an impact.
At every minute of this show, one must stop and gaze with awe at the tremendous camp. The writers were familiar with ideas like chivalry, but they are very much locked into the materialistic fashions of 1973.
So an inexplicably rich scientist builds a superpowered robot and raises her as his daughter – but doesn’t bother telling her that she has superpowers. This doesn’t seem to slow her down when she decides to use whatever superpowers seem convenient to the writers at any given point. (If you are a superhero theorist, you might speculate that Cutie Honey is roughly as powerful as the Green Lantern, because her powers are essentially limited by the writer’s imagination.)
If you like rigidly logical speculative fiction, this show is going to leave you with some questions.
Cutie Honey can transform into any sexy female form – sexy flight attendant, sexy girl reporter, sexy rock star, sexy fashion model, sexy motorcycle girl – in a fraction of a second. As with the Green Lantern, her superpowers are essentially wormholes into the Plot Convenience dimension. Thus she doesn’t have to undress from her motorcycle gear and laboriously put on her sexy journalist outfit – it just happens, in defiance of any laws of physics, in a split second, exactly when she wants it to happen.
But she calls herself a “warrior of love,” which doesn’t make much sense. If you are a warrior, you’re not loving. If you’re loving, you’re not functioning as a warrior. Even career soldiers put their families somewhere far from the battlefield when they fight.
The show’s sense of perspective seems to screw up a lot. A bladed glove that should have blades less than one meter long seems to have blades that are more than two meters long.
Enemies explode because the writers can’t be bothered to slow down the story and explain dead bodies.
And apparently the writers are going to make her go back to a Christian school, just to produce unrealistic character melodrama.
Syria: Communication systems and foodstuff produced by Israel found in Al-Qaeda’ Positions
[It is not surprising to find that Israel conducts long-term false flags.]
So we’re at a pretty significant juncture here. Our present situation could accurately be described as a question that we are collectively being asked as a species: do we want to (A) live on and find out what the future holds for us, or do we want to (B) go the way of the dinosaur?
Whenever I bring this subject up I encounter proponents of both answers. Though they never frame it as such, the people who show up in my social media notifications proclaiming that it is naive to think humans will ever cease their destructive patterns are very much on the side of Answer B. They insist that turning away from our ecocidal, omnicidal trajectory is impossible, and apparently their plan is to sit back and feel smugly vindicated when the world burns. They are choosing extinction, and their prize is that they get to be right and feel good about that if it happens.
Answer A is less sexy. Less egoically satisfying. You don’t get to feel smug and superior with Answer A, because Answer A involves changing. It involves waking up from that same ego structure which gets so much pleasure out of being right and knowing better.
If we’re going to pull away from catastrophe or dystopia and survive,… We’re going to have to evolve beyond our current relationship with thought. We’re going to have to wake up.
Throughout recorded history and across all cultures around the world, there have been individuals testifying that it is possible to undergo a transformation in the way one relates to the world, experiencing life as it actually is instead of filtered through unconscious conditioned thought patterns. After such a transformation, thought becomes the useful tool it’s supposed to be instead of the writer, director and star of the whole show.
Note that CJ is pushing a false dichotomy: she is saying that there are only cases A and B, where case A is transformation by meditation and case B is dystopia and extinction. She doesn’t mention the transhumanists and the extropian technologists, who believe that technology will swoop in and fix everything fixable, without any of that silly hippie meditation stuff.
For the first few paragraphs, the false dichotomy was somewhat plausible, but CJ goes off the rails with the following logical leap:
If such a transformation is possible on an individual level, it is possible on a collective level as well.
First problem: “possible” is a weasel word in this context. Meditation leading to individual transformation is well-attested by history – it’s not just possible, it can be verified. (And one can note that it often does NOT work.) Meditation leading to collective transformation is not clearly attested by history – there have been groups of meditators, but it is NOT clear that meditation transformed them. Furthermore, it is NOT clear that our current evolutionary state is measurable or understandable by anyone. CJ has not proven that she is good at measuring evolutionary states or meditation-induced transformations.
At the outset, let me note what history DOES show: history shows that when humans try to meditate as individuals, some individuals become “enlightened” and many become kooky. Further, when humans try to meditate as groups, they usually form religions. Religions are not particularly enlightening forms of social control; they do not abolish governmental violence. If Buddha didn’t transform the world and abolish coercion with his Sanghas, CJ is not likely to do so with Internet-connected meditators.
Art films are aimed at small niche market audiences, which means they can rarely get the financial backing that will permit large production budgets, expensive special effects, costly celebrity actors, or huge advertising campaigns, as are used in widely released mainstream blockbuster films. Art-film directors make up for these constraints by creating a different type of film, which typically uses lesser-known film actors (or even amateur actors) and modest sets to make films that focus much more on developing ideas or exploring new narrative techniques or film-making conventions.
Furthermore, a certain degree of experience and knowledge are required to understand or appreciate such films; one mid-1990s art film was called “largely a cerebral experience” that one enjoys “because of what you know about film”. This contrasts sharply with mainstream “blockbuster” films, which are geared more towards escapism and pure entertainment. For promotion, art films rely on the publicity generated from film critics’ reviews, discussion of their film by arts columnists, commentators and bloggers, and “word-of-mouth” promotion by audience members. Since art films have small initial investment costs, they only need to appeal to a small portion of the mainstream viewing audiences to become financially viable.
So a Christian writer mentioned that men prefer virgins:
And the typical anti-Christian crowd started throwing flak.
When you get that much flak, you are RIGHT over the target.
Thesis: A character cannot seem sexy to me if that character is not interested in sex.
Ryuuko, the protagonist of Kill La Kill! is a young lady whose father was brutally slain. She came home one day to find his rapidly cooling body as he bled out. This hardship immediately transformed her from a normal girl into a violent woman who will stop at nothing to get bloody revenge.
I have seen 12 episodes of Kill La Kill! so far. At no point has Ryuuko struck me as sexy, mostly because at no point has Ryuuko showed any desire for sex.