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Editor's Notes

• #3: I set out to provide a framework by which you could choose a title with a great probability of being a transnational success. I had a couple of questions about what it takes to push something transnational and what are the possible indicators of transnationality. The transnationality of a title and its potential success is measured by four variables: genre, iterations, branded products, and popularity. A title must realize all four variables to be truly successful transnationally
• #4: I define the transnationality of a product as the potential of that product to achieve transnational success. I have come to define localization as the process by which a title is translated into another language and/or its contents are altered to reflect a target culture. On my own, I add the aspects of digitization and simulcast to the definition of localization as well. Promotion is quite simply promotion, but in this sense it is promotion by means of expos and trade fairs. I define iterations as the different incarnations of a single title. There are only five possible iterations: Novel (which can vary in length and content), Manga (including webtoons), Anime (which includes Original Net Animations (ONAs), Original Video Animations (OVAs) and animated webisodes), TV Drama (which also includes Online Dramas), and Film (animated or live-action). Branded products refer to the individual and separate media existing within iterations. Like multiple anime, manga, novels, etc Popularity can be a number of different things: it can be the combination of the three other variables but it also is a part of the fanbase. If you have enough material present, you can build a strong fanbase. That fanbase will then buy as much of the material as possible, driving up sales and profits. All of these things are a part of popularity.
• #7: There are a few limitations to my research: while there is a lot of information released on strategy, the government has not been as transparent on funding and funding breakdown. Also, in this paper I focus on government efforts at achieving transnationality, so there are no non-governmental data in my research
• #8: Of the 204 titles selected, there are two genres that are statistically picked most often: Fantasy and Action/Adventure. They outstrip the others. In Fantasy is also grouped Sci-Fi, Paranormal, Supernatural, Magic, Mecha, and Superhero; the Action/Adventure category includes Sports, Tournament, Game, and Space Western. Of the 204 titles, there are some titles with multiple genres and all those genre counts were taken into this graph From 2006 to 2014, Fantasy and Action/Adventure are still at the top, Comedy and Romance become a bit more popular and actually both occupy third place as most popular genre; Romantic Comedy beats out Mystery as the fourth most popular, and Historical and Drama are tied as the sixth most popular.
• #9: The year that the title was originally produced also has a huge effect on title selection. However, there have been some criticisms that the titles selected are old and have already seen international success and that the government is going for sure success instead of taking it’s chances on newer titles. I define the newer titles as 2006 to 2014 and this is actually the majority of works, so while there is a lot of focus on the old, the new is gaining ground.
• #10: Akagi – Title, Year, Genre, Iterations, Number Branded products - Successful and sustainable stronger product with multi0le iterations and branded products Take color out and highlight unsuccesful Reword In these ten 7 of them show that they are successful (broad fan support strong sales, a wealth of material). The three that were not successful did not cover the iterations branded products. See, these more successful they tend to have iterations that are more than three, branded products more than 1
• #11: For my cases I will be reviewing Attack on Titan, Haruhi Suzumiya, and Space Dandy. Please pay attention to the genre, number of iterations and number of branded products that are attached to these titles. Also, please note the awards and sales numbers presented, as they reflect the popularity of the title.
• #12: AoT is a post-apocalyptic Fantasy and Action/Adventure epic and is also a great example of the success that comes from fulfilling the four variables of transnationality.. It started a manga in 2009, and was available in English in 2012. It is about giants, called Titans, that seem to only desire the destruction of human kind – and about the humans that fight back against them. Won the 2011 Kodansha Manga Award for Shonen and was nominated for Osamu Tezuka Cultural Prize in 2012. AoT has sold over 45 million volumes around the world to date. It has spawned four other manga adaptations, two light novel series, an anime series, multiple video games, two theatrically released anime films (the second slated for 2015), and two planned live-action films (the first set for theatrical release in 2015). Through the Cool Japan Initiative, both the manga and anime were selected for localization and promotion. It is a part of both J-LOP and CoFesta’s 2014 efforts and has been promoted at Japan Expo 2014 (France), Anime Expo 2014 (USA), Otakon 2014 (USA) and CoFesta 2014 (Japan) AoT is huge in America and has been heralded as the “once in a decade hit”. It has driven manga and anime sales way up after years of flat lining and declining numbers. Biggest indicator of success is the crossover between Marvel and AoT. It is titled Attack on Avengers and was released in English only in Japan. It featured both Spiderman and the Guardians of the Galaxy.
• #13: Haruhi Suzumiya began as a light novel series in 2003 and is what I call my “time-lag” example because it has had a decade to fulfill my variables, build its fanbase and achieve true transnational success. It is also rare because it has fulfilled all 5 iterations. The other popular series that has done this is Sailor Moon. It is a Fantasy/Comedy High School piece that is fun and crazy, and often doesn’t make sense (for those who watched the anime, due to the anime series episodes being aired out of order to imitate the mind of Haruhi) There are currently eleven light novels published and the series is ongoing. In addition to the anime adaption, it has spawned six manga adaptions, two Original Net Animations (ONAs), multiple video games and music albums, an online TV Drama, as well as a theatrically released anime film entitled The Disappearance of Haruhi Suzumiya. In 2006, it was named the most popular anime series in Japan and also was ranked #4 in the top 100 Anime Series. At the 2008 Anime Expo, the anime received six awards from the Society for the Promotion of Japanese Animation. In 2011, it was announced that over 16.5 million copies of the light novel series and manga series had been sold in 15 countries, 8 million being sold in Japan; at the same time, volume 10 of the light novel series, The Surprise of Haruhi Suzumiya, set a 1st print record in Japan with over half a million editions printed
• #14: Space Dandy is a Space Opera directed by Watanabe Shinichiro, who also directed the hit Cowboy Bebop. I call it my new example because it just came out last year. Space Dandy is about is about alien hunter Dandy, described as the “dandiest man in space” and his adventures with sidekicks QT (a broken down vacuum cleaner suffering from Memory Overloads and Data Failure, and an alien cat named meow. It is very much a gag-filled comedy and it has been said by creators that it is “not an anime to be taken seriously” Space Dandy began its first run in Young Gangan less than a year ago, however, the anime had been in development by Bones, Square Enix, and Funimation since at least mid-2013 and would premiere later in January of 2014. It was given localization and promotion funds by J-LOP The absolute most amazing aspect of Space Dandy that could potentially be the biggest contributor to later success is the fact that from the get-go it was recorded in English and Japanese. That feat is amazing enough on its own, but the envelope was pushed even further when it was announced that the series would be simulcast in not only Japan and North America, but numerous other Asian countries as well This had never been done before, but is inspiring the government to do so with other titles, like Terror in Resonance. With time, most titles can build a fanbase worthy of transnational crossing. Some even hit the right note in the beginning and almost immediately go global. With Space Dandy this is not the case, even though it has a lot of unique things going for it. The genre is fitting, Sci-Fi and Comedy, but it only has two iterations covered and no other branded products.
• #15: I have talked a lot about titles going transnational and achieving success in that arena A big part of Cool Japan, as I see it, is capitalizing on the inherent transnationality of their media products My hypothesis is that in order for a title, and by title I mean product or series falling under the iterations category, to achieve true transnational success, it needs to fulfill all four variables. This is very important, as just fulfilling one or two variables will not build the fanbase necessary to propel a title to success outside of Japan. The variables feed off of each other, and the title becomes stronger with each variable it satisfies. In my cases, I reviewed two titles that do fulfill all four variables and have achieved great transnational success, AoT & Haruhi Suzumiya, One of the titles I reviewed, Space Dandy, did not fulfill all of the variables for transnationality despite substantial government efforts in 2014 to do so Some may criticize my case of Space Dandy saying that because it is from 2013 and say that it does not have enough time for popularity to grow and thus help to fulfill the other variables. However, looking at a title that was in the Data Analysis chart, Amagi Brilliant Park, we can see that this is not the case
• #16: First released in 2013: It is a Fantasy title spanning 3 iterations with multiple branded products: five novels, three multi-volume manga, and an anime. As I said before, when enough of the variables of transnationality are in place, they begin to feed off of each other and further enhance the popularity of the series. In the two weeks after the anime debuted (on October 6, 2014), the original novel series sold over 100,000 copies (Komatsu). Amagi Brilliant Park and Space Dandy both were released in the same year and are both among the top promoted genres; the success of Amagi over Space Dandy can be boiled down to the fact that Amagi covers enough variables to lead to transnational success and Space Dandy does not.
• #17: As part of my conclusion let’s take a look again at my hypothesis: Through my research I have found that my hypothesis holds true: in measuring the transnationality of a title, it must fulfill all four variables (genre, iterations, branded products, and popularity) and must have enough combined material present to build up a fanbase that would propel it to transnational success. Based on the data of transantionaliy sustabible titles we found Iterations have a tendency greater than or equal to 3 and/or Branded Products must be greater than 1 TENDENCY
• #18: Through my research I have seen that in Japan there is a natural and logical progression in the branding cycle, whereby a title naturally moves from Novel to Manga to Anime to TV Drama to Film, not necessarily in that order. By adding an international aspect to that branding cycle, we get closer to what the Japanese government is trying to accomplish today through the Cool Japan Initiative. My hypothesis establishes a concrete framework for selecting successful titles/products for transnational promotion. This framework should prove successful at measuring the transnationality of cultural media from any country