2012: The Year in Anime Books

Possibly for the last time, we return to my annual round-up of books I have read about the animation industry in Japan. This year I have published several extensive reviews of some of my anime reading, including Marc Steinberg’s Anime’s Media Mix, Nobuyuki Tsugata’s Before the Dawn of TV Anime, Liliane Lurcat’s Alone With Goldorak, and Tobin’s book on the Pokemon phenomenon.

Behind the scenes, I have also been wading away through Japanese-language works on the subject, including two accounts of anime in China, Tomoyuki Aosaka’s Contents Business in China: Fluctuating Markets, Emerging Industry, and Homare Endo’s The New Breed of Chinese ‘Dongman’: Japanese Cartoons and Comics Animate China. Both authors must write in a tense environment, with evidence pointing to a strong potential market for Japanese animation and comics in China, but also to a strong anti-Japanese feeling all over China. It’s a fascinating dichotomy, where there is minimal evidence of anime and manga in Chinese stores, but anecdotal evidence everywhere you look that illegal downloaders and torrenters form a significant silent population. Meanwhile, even though only 35 foreign films are permitted in Chinese cinemas each year, you can guarantee that two of the slots otherwise reserved for Tom Cruise, or James Cameron, or Pixar, or whoever will go to the year’s Conan the Boy Detective film and the year’s One Piece movie. Anime and manga in China are not only on a critical cusp, but have been teetering there for the last decade and could still fall either way.

There was also an account of the life and work of Osamu Dezaki, and another about the achievements of Akiyuki Shinbo, adding welcome detail to the public profiles of two prolific directors. At the edge of the anime field, Yasuo Nagayama published an interesting “occasionalist” history of science fiction in Japan, concentrating not on the texts themselves but on the events that surrounded them. In the wrong hands, this could have all too easily turned into a tedious account of things that happened at conventions, but Nagayama keeps closely to his methodology, discussing not only the fan politics of the Japanese con scene, but also the effects of media fads and scares, and the public performances of popularity every time certain anime break box office records.

A few books disappointed me. A new work that purported to offer an insiders’ view of Sazae-san had nowhere near the detail I was hoping for, and Mitsuhisa Ishikawa’s account of his “revolution” at Production IG lacked the kind of nitty-gritty details that I personally go for. Much more fun was to be had in a series of books about the Japanese animation business, particularly the wonderful Otaku Marketing by the Nomura Research Institute, which offers hard data about the various types of otaku to be found in numerous consumer sectors, and how best to sell them stuff. Another book on the industry, This is the Anime Business, by Makoto Tada offered a run-down of the ten secret “Rules of the Devil” recited at the Dentsu corporation by its loyal minions. They are, apparently, a secret handbook to understanding the way the best animation studios work, too:

Rule 1: Work is something you should create not something that should be given.

Rule 2: Work is something where you take initiative and not something you do passively.

Rule 3: Tackle an important job. A small job will make you small.

Rule 4: Target a difficult job. You can progress by accomplishing it.

Rule 5: Once you tackle, don’t let it go. Hold on like grim death, until you achieve the target.

Rule 6: Drag the people around you. It will be worlds apart between the one who drags and who is dragged in a long term.

Rule 7: Plan. If you have a long-term plan, patience, devices, correct effort and hope will be born.

Rule 8: Have confidence. Without confidence, your work does not have punch or tenacity or even depth.

Rule 9: Use your brain in full all the time. Be always on the alert. Don’t slip your guard. That is what service is.

Rule 10: Don’t be afraid of friction. Friction is the mother of progress and manure of drive. Otherwise you will be obsequious and irresolute.

If it seems like I am reading less anime books than usual this year, it’s because this year saw me come to the end of the long writing process on my doctorate. I handed it in back in July, and the prospect of reading it so terrified my superviser that he ran away to China. As a result, it’s still languishing at the faculty waiting for the committee to get its act together; I didn’t help matters by running for China myself for four months this year, making it a little difficult to turn up for my viva; I shall have to sort out all of that in the new year, or else I shall never be Dr Clements. Meanwhile, the book version, some 60,000 words longer (in fact, as one wag commented, a whole other PhD worth of stuff) makes its way through the peer review process at the British Film Institute. I am just about to deliver the second draft of that, and with any luck you should see the published result – ANIME: A History of the Japanese Animation Industry, published in late 2013. As the name implies it is a massive chronicle of animation in Japan since the year 1909 (yes, 1909, you will have to read it to find out why), based almost entirely on the Japanese-language testimonials of the actual creators, rather than the speculations of foreign pundits. If you are the kind of person who has read this far on this blog, then I think you will like it very much.

65 Degrees

Finnish online magazine 65 Degrees North publishes a review of my Mannerheim book, now available in paperback and on the Kindle, that calls it an “absorbing, superbly detailed, powerfully written biography.” I don’t actually remember writing that German was the lingua franca in St Petersburg, though… surely it was French?

 

Economies of Knowledge

Ten years ago, I was a presenter on a short-lived TV show called Saiko Exciting. It was a two-hour umbrella under which huddled pop videos, games reviews, and two anime tentpoles – Evangelion and Nadesico. Like many organisations, the Sci Fi channel had believed the hype about anime taking the world by storm, and was hence rather surprised when its anime-themed prime-time show failed to attract significantly high ratings.

So they called in a consultant.

He crunched the numbers and evaluated the footage, and delivered his report, which, as far as I could tell, amounted to a suggestion that life would be a lot easier if the channel threw out all that irritating anime crap… from their anime-themed prime-time show.

I am sure that he made other recommendations, too. One of which may well have been that the two young ladies were very easy on the eye, but perhaps that unsmiling nerd spouting anime statistics was best moved to a late-night slot where only anime fans would see him – certainly, that’s where I soon ended up. But the Unhelpful Consultant has always been something of a running gag ever since, particularly after similar encounters in my Manga Max days, with another boffin who recommended to Titan Magazines that the thing that was really holding the title back was all the stuff in it about manga.

I have had to think managerially a lot more these days. Since starting my own company in 2003, I have had to think more commercially about culture and the arts, and parse ideas in terms of monetisation, amortisation and other words I may have just made up. I have long been fascinated by the early 20th century management theorists – Taylor suggesting that workmen be given bigger shovels in order to move more stuff with each heft; the Gilbreths noting that it would really help if the employees were happy; and Mayo realising that he was getting particular answers because he was there asking questions. The Gantt organisational chart, pioneered during the First World War, was soon adopted in the 1920s by numerous industries, not the least animation, where it formed the basis of the ‘dope sheet’ used to plan productions to this day. If you work in a company of any significant size, someone has sat in a room with a Power Point presentation where someone lectures them about ‘hierarchies of needs’ or ‘aristocracies of the capable’, and it has knock-on effects on all sorts of things from where the coffee machine is to what time you start work in the morning.

After reading The World’s Newest Profession, I have come to regard consultants in a new light. Christopher McKenna’s book goes a long way towards explaining what management consultants actually do, beginning with the shop-floor ‘scientific management’ of the early 20th century, right through the corporate trouble-shooting of modern times. He chronicles the strange admixture of accountancy and engineering that distinguished the early consultants and shows them at work fixing companies all around the world by trumpeting new buzzwords and shaking things up a bit.

As readers of Schoolgirl Milky Crisis know, I often work as a consultant myself these days, as institutional memory or advising on storylines for media companies. And I like to think that people get their money’s worth. I remember once being sat in a room with a producer for a Thursday and Friday, hammering out the outline of a computer game. He went off home, and I spent the weekend typing it up. On the Monday, he had a 13,000-word story breakdown, with characters and assets. I mention this because it had been assessed at the company as a job that would have probably been possible to do in-house, but would have taken up nine man-months. Thanks to my freelancer’s blindness to weekends, he had it in two working days. This is what Christopher McKenna calls an ‘economy of knowledge’, wherein a company realises that despite the high cost (and I was not cheap), it will still work out cheaper to bring in outside expertise. It’s easy to see how that might work with writers and artists. It’s easy to see how it works in everyday life – after all, what is a hairdresser if not someone who can do it better than you, for the hour that you need her? The real trick with the management consultants of the 20th century is that they applied to managing itself – whatever your company does, however it works, they can come in and make it work better. Some companies were so sure of this that they even offered to work for nothing if their fee was not justified by the saving.

The World’s Newest Profession talks through numerous incidences of corporate intrigue and subterfuge over the last century, including the rise of NASA, which McKenna provocatively parses as a committee that sub-contracts almost everything to outsiders. He paints a picture of grim-faced men in grey flannel suits, deliberately designed to mark them out as serious players in any corporate face-off, whispering suggestions in the chairman’s ear for loopholes, tax havens and legal wriggles that can help a company shave the bottom line. Although is the profession really that ‘new’? – elements of McKenna’s narrative are uncannily similar to tales of Confucius and Sun Tzu.

Sometimes, management consultants are necessary in a corporate environment for speaking unwelcome truths. Nobody at Sci Fi was going to say that a prime-time anime show would never get a million viewers in a country of only 60 million people, with 100 other channels to choose from. Irritating though the consultant’s comments were, they seem in hindsight to be rather honest. Sci Fi didn’t ask him to fix their anime show; they asked him how to make more people watch their channel. And he pointed out, with unwelcome precision, that the ratings went down every time the anime came on.

That doesn’t tell you that anime is toxic. It tells you that the people who watched Sci Fi were not keen on anime. Someone producing an anime show was never going to like hearing that, but they got the answer they needed to hear. Of course, he would have been more useful to me if he’d offered advice on how to sell what we already had, rather than giving what was, to a certain extent, the easy answer, that we should be selling something else.

I am not sure who advised them to change their name to SyFy, though. Sometimes management consultancy really is just bollocks.

Jonathan Clements is the author of Anime: A History. The World’s Newest Profession: Management Consulting in the Twentieth Century is published by Cambridge University Press.

[Time travel footnote: eight years after writing this article, I know exactly why they changed the name to SyFy. Just as Sony deliberately mis-spelled Blu-ray, the switch to a term not already in common use meant it was possible to trademark and guarantee optimal tagging in social media.]

Anime's Media Mix

My review of Marc Steinberg’s new book Anime’s Media Mix: Franchising Toys and Characters in Japan, is up now on the Manga UK blog. It’s an incisive study of the way in which patterns of consumption have changed in Japan since 1963, placing Astro Boy and Haruhi Suzumiya front and centre in the story of how passive viewers have transformed into active fans.

Arctic Air

The Map of My Dead Pilots reads in two ways – as an account of a systematic, scholarly study of the history of plane crashes in Alaska, and as an oral history of the kind of people who are likely to be flying those very planes. As the title implies, some of these figures are mere names in the newspaper archives, and pins stuck in charts. Others are people that Colleen Mondor knew personally, from her days as a dispatcher at a weird little airline in the middle of nowhere.

The two accounts advance on each other – a dispassionate enquiry into aviation history, and a melancholy memoir of life among the ice pilots. Mondor artfully constructs snapshots of a snowbound world where men treat dogs like machines and machines like spouses; where weather is more than just scenery; where everyone has come north with a story they don’t want to tell. She wrestles with what it is to have an authorial mind in a world of harsh truths, as she tries to reconcile academic rigour with narrative romance. There are tantalising snapshots here, from the scarred girl who must relive the moments of her long-ago accident in the eyes of everyone who sees her face, to the nuns who refuse to give up their seats for a hospital-bound teenager. The result is gripping, as a fledgling author finds her style and suddenly takes wing. With a start, Mondor realises what she is really writing about, and lets the reader find out along with her.

Mondor’s pilots gripe that they might as well be bus drivers on the Moon, as if that is not an incredible idea in itself. The US Mail has to get through, not because some Inuit trapper is waiting for a postcard from Puerto Rico, but because the plane that is being vastly overpaid to carry the postcard will now also have hold space for medicine, food and supplies. But this is the land of Mondor, where the shadows lie, as the author sits forlorn amid pieces of broken lives, and carefully builds something beautiful with the fragments. Like an antique, graceful plane thunking onto the landing strip with bingo fuel and a hold full of howling dogs, The Map of My Dead Pilots touches down just in time. Any longer, and this lovely little book would have broken its spell.

Jonathan Clements is the author of Mannerheim: President, Soldier, Spy.

Spartacus Reviewed

Steve Donoghue at Open Letters reviews my novel Swords and Ashes from a classical perspective, suggesting that the book is loaded with hidden allusions to ancient authors. Indeed it is, and includes nods not only to Cicero’s Verrine Orations and Letters to Atticus, but also Ovid’s Art of Love, Ulpian’s Commentaries on Roman law, and the writings of Seneca, Plutarch, Florus and Frontinus, to name but a few. As a bonus extra, his whole review seems intended as a gentle slap to an acquaintance who think Spartacus was invented by Howard Fast, and that nobody is allowed to write about the American Civil War any more, because Margaret Mitchell has already done it.

Sean Canfield at the Daily Rotation approaches Swords and Ashes from a formalist perspective, as someone who has never seen the TV series, and doesn’t care whose picture is on the cover, or who wrote the book. He demands that the book stands up on its own merits, not attached to any other text or event. A tall order, but one which he finds the book to have met. Now he wants to watch the TV show, which if truth be told is the entire reason why licensors get onboard with tie-ins: as adverts for the next season.

Jesse the Pen of Doom (What were Mr and Mrs Pen of Doom thinking when they gave their son the middle name of “the”?) over at 8 Days a Geek thinks that if you like sex and violence, you will like this. But he also notes what few other reviewers have — the precise moment in series continuity where the book is set, which he praises as a “great bridge between two key points.”

John Neal at Celebrity Cafe: “Clements is able to take readers deeper into the gladiator’s mind and reveal his thoughts and actions… an entertaining read and an excellent companion to the series”

Pilbeam at Defective Geeks: “It’s bloody, violent, vulgar and full of sex. And that’s just in the first chapter”!

Kate Lane at Shadowlocked calls it a “toga ripper”, noting that the nature of reading a book rather than watching a TV show makes sex and violence more garish and disturbing. She says it’s: “a fabulous, well written tale that grabs the reader by the throat and slams them around a tits-, tans- and testosterone- filled version of ancient Rome that leaves them breathless.”

George Sakalis at Extra Hype says: “By Jupiter’s cock, I recommend this book and if the following Spartacus books are like this one, then Titan Books will have a great tie-in series!” With a name like his, I was expecting some flak for the way the book treats Greeks, but it seems he took it all in context, as an example of historically accurate racism. Phew.

“Fitz” at Blogcritics likes the imagery, and quotes one of the scenes I liked the most.

John Redfearn at Bookgeeks finds himself “more interested in trying to work out the rules for deciding when people say ‘the’ or ‘a’ and when they leave them out than in what would happen next.”

Meanwhile, over on Amazon, there’s a growing number of reviews, from a very interesting bunch of readers, seemingly equally divided between those who have seen the TV series, and those who now want to.

[Time travel footnote. The translations are getting some nice notices, too. Here’s Wulf Bengsch getting very enthusiastic auf Deutsch.]

My Book of the Year

And so we come to the Book of the Year round-up. I’m not waiting till the holiday season this time, as I realise that many readers would prefer to hear my thoughts now, just in case it inspires their Christmas shopping. And why not? Buy someone a book for Christmas this year. It’s more fun than socks.

Well, your mileage may vary. Runners-up from my reading this year include the utterly filthy Decadence Mandchoue: The China Memoirs of Edmund Trelawney Backhouse, rescued from obscurity by Derek Sandhaus in a beautiful hardback edition by Hong Kong’s Earnshaw Books. I was left thoroughly depressed by Paradise Found, an informative account of the American ecology on the eve of the arrival of European colonists. Also, sped to me on the day of its publication, Matthew Sweet’s West End Front: The Wartime Secrets of London’s Grand Hotels.

Sweet’s previous books changed the way I wrote history; I have come to love his persistence in tracking down testimonials rather than memoirs, a dogged quest that often seems to find him sipping tea in old people’s home while the spivs, movie stars and spies of yesteryear struggle to recall their glory days. West End Front is a carnival of (largely) ghastly people, often described with Wodehousian glee, and Sweet presents a superb angle on the culture of WW2, from the switchboard operator who overheard of the war’s arrival before the rest of the country, to the huddle of ousted politicians listening on a hotel radio to the news of Japan’s surrender. Kings in exile, hookers on the make, and Marxists in search of a bespoke bomb shelter all rub shoulders in Sweet’s vivid account, some under the mistaken impression that the solidly built hotels of London were “bomb-proof.” I would say more, but Simon Guerrier already has.

For the second year running, my fortnight at Scotland Loves Anime found me raiding the Glasgow Waterstone’s, coming away with the wonderful Lore of Scotland and The Faded Map, a run-down of the various kingdoms once found in Caledonia. The focussed, localised Faded Map has been overshadowed somewhat by Norman Davies’ sprawling Vanished Kingdoms: The History of Half-Forgotten Europe, which offers potted histories of continental also-rans such as the Byzantine Empire, Aragon, Burgundy and Tolosa. But through no fault of Davies, I was left slightly more satisfied by The Faded Map, partly because it set its sights very small, on Scotland, and hence was able to be far more comprehensive. There is a picky, ungrateful sense of entitlement that comes over the reader of Davies’ larger work, as one starts to wonder about all the vanished realms he’s left out – what about al-Andalus? The Danelaw? The Austro-Hungarian Empire…? His book is popular enough and has made it onto many other best-of lists this winter, so perhaps it will soon gain a companion volume. If it does, may I plead with his publishers to make a better book. For £30, I would prefer one that doesn’t start shedding its pages before I’ve even got halfway in. By the time I finished, it was less of a book than a sheaf of papers.

Lost Colony by Tonio Andrade is an impeccably researched account of the fall of Fort Zeelandia in Taiwan to the “pirate king” Koxinga, a.k.a. Zheng Chenggong, Coxinga, the Knight of the Imperial Surname, etc. Barnacled with grants and fellowships, and aided by four research assistants, Andrade reframes the story of Fort Zeelandia in terms of the popularly-held idea of the inherent superiority of the modern west. He points out that when the Chinese first met with European military might, the Chinese won, and ponders if the victimhood of the 19th century was an anomaly. Entertainingly, Andrade is not above arch comments about the Dutch disaster as it unfolds, and has the odd achievement of including a chart that made me laugh out loud. It’s a list of defectors in each direction between the Dutch and the Chinese, but is set up with such mathematical precision that it allows for the possibility of half a defector. A lower torso, perhaps? For reasons I don’t quite follow, this playfulness also extends to the book’s cover, which shows a picture of Batavia, not Taiwan at all.

When I clicked a copy of Andrade’s book into my shopping basket, Amazon kindly informed me that “people who bought Lost Colony also bought Coxinga and the Fall of the Ming Dynasty by Jonathan Clements”. This is somewhat ironic, since Coxinga and the Fall of the Ming Dynasty is entirely unmentioned in Lost Colony, which has the gumption to bill itself as an “untold story.” There’s some half-hearted hand-wringing in Andrade’s acknowledgements about his “scholar’s discomfort” with this claim, but it apparently didn’t bother him enough to actually do anything about it. Which is a shame, because Lost Colony is an excellent book, and now many would-be readers will be confronted its spurious “untold” assertion every time they browse an online bookseller.

It is, one presumes, because academic presses do not wish to dirty themselves with citations from the garish world of commercial publishing, a reluctance which, to some extent, I do understand, particularly if someone has inconveniently told your “untold” story eight years previously – and I, of course, was not even the first. But if you are going to dismiss popular predecessors as beneath your notice, please don’t succumb to the hucksterish allure of misleading, grandstanding titles. Untold, my arse.

Which brings me to my actual book of the year, which I doubt very much you could buy even if you wanted to: China on the Western Front, by Michael Summerskill. Untold? No. Unread? Seemingly. Unloved? Absolutely not. It’s an amazing book about the Chinese Labour Corps, nearly 100,000 men who came from China to dig trenches and unload ships in a Europe starved of manpower during WW1. Eight hundred of them died, mainly from the influenza of 1918, although several dozen died in bombing raids and German attacks. It was published in 1982, and is so obscure that the School of Oriental and African Studies library doesn’t have a copy. It’s a paperback of less than 250 pages, acquired for the princely sum of £85 from a second-hand bookseller who knew exactly how much it was worth to me. I bought it because I’m considering writing a book of my own about WW1 in the Far East, and the fact that 100,000 Chinese put a girdle round the Earth in order to drag corpses from the trenches at Verdun is simply fascinating. Summerskill plainly found his obsession so odd, so unique, that no publisher would touch it. He published it himself, in numbers so tiny that I doubt there are three copies left in Europe. But nevertheless, thanks to the interwebs, I was able to find a copy. And if Summerskill’s family ever want to republish it, they could have it available on the Kindle in days. Has its time come? I hope so.

Instead, the most accessible book on the subject is another product of the modern age, an obscure 1919 account by a white officer in the Chinese Labour Corps, brought back into print by the Imperial War Museum, and maintaining its cheerily racist original title: With the Chinks. It doesn’t hold a candle to Summerskill, but was a fun read. [Time Travel Footnote: John Watson points out that this book came out this year.]

We stand on the verge of a sea-change in publishing. Summerskill’s book, still a great rarity in 2011, might easily be a similar print-on-demand or e-Book commonplace by this time next year, easily rushed to your door or to your tablet. I have two books coming out in 2012, and for what is for me the first time, both will be in dual paper and electronic versions as my publishers wake up to the potential of new media. My reading this year has been skewed more than ever by the technology that delivers it to me. Amazon, in particular, reminds me to put money down on books I forgot I once wanted, or hunt down obscurities that might have eluded me in a bookshop. I have also noticed with increasing regularity, the number of books from academic presses that have clearly been printed on demand, to meet my order and not in anticipation of it. Nothing, however, quite competes with the joy of poking around a real-world Foyle’s or a Waterstone’s, where acres of new worlds are waiting to be discovered, analogue style.

I’m not one of the publishing doomsayers. There is certainly a paradigm shift in the way that books are sold and consumed, but if anything it makes the field more financially rewarding for writers, not less so. I have certainly benefited from both paper and e-sales this year. I suspect that within the decade, the default condition of all books will be electronic, and that old-fashioned people like me who want it on paper can pay to have their digibook made real, much as 18th century bibliophiles popped down to the printer to have their papers bound. But there will be a transitional phase when electronica dominates, and when that comes, you’ll have a lot more trouble putting a ribbon around it and giving it to your dad.

So buy someone a book for Christmas this year. Next year you might have nothing to give but electrons.

There You Go, Astro Boy

It’s taken me a while to get to Astro Boy and Anime Come to the Americas, thanks largely to a £30 cover price. But I got there in the end, and my review of it is now up on the Manga UK blog. It’s great to have such solid information from Fred Ladd about the first ten years of the anime localising business, although I can live without the latter half of the book and its vague hand-waving about what happened next. That said, it’s still worth every penny, if only for the 100 pages of golden testimony about the way in which Japanese cartoons were treated in the TV industry of the 1960s and early 1970s.

Hello, Sailors

The Mariner’s Mirror, or to give it its fantastic full title, The Mariner’s Mirror, wherein may be discovered his art, craft & mystery after the manner of their use in all ages and all Nations, has just published a glowing review of my Admiral Togo: Nelson of the East. Alessio Patalano, lecturer in War Studies at King’s College London and a specialist in East Asian security issues, really gets the book, noting its concentration on “the multiple applications of naval power, from diplomatic to constabulary and military functions.” This is particularly important in the case of Togo, as there was considerably more to his life than his sudden appearance in 1905 as the hero of the battle of Tsushima. He’d first encountered the British as a teenage samurai, and watched swordsmen standing knee-deep in water on the shores of Kagoshima, angrily brandishing their blades at “retreating” Royal Navy vessels. He’d studied for several years in Victorian England, and been part of dockside politics and naval espionage in China, Korea, and Hawaii before he saw military action against China and Russia. Patalano thinks, rightly, that I have romanticised Togo, but also notes: “This book is a refreshing account of a defining figure of modern Japan. It is well written and deals with themes such as leadership, individual commitment, social transformation and cross-cultural understanding of great contemporary relevance.”

Museum Piece

My review of Yukinobu Hoshino’s Professor Munakata’s British Museum Adventure is up now on the Manga Entertainment blog. I don’t think I have ever seen an institution spend its junket money in a more productive way. The BM managed to get a ten-issue manga series read by tens of thousands of Japanese readers, and now this massive advert for what the BM is and what it means for the people of the UK. All because they invited the right artist at the right time, and made sure that he went home inspired. Now, if they’d invited Toshio Maeda…