Demand for Japanese content booms post-Shogun

TOKYO – Fuelled in part by the success of TV hit Shogun (2024), foreign studios are hungry for quality Japanese content and local creators are adapting to meet demand.

Fans of Japanese manga and anime cartoons have often criticised foreign adaptations that are unfaithful to the original material.

But Shogun, based on the 1975 novel by Australian-British writer James Clavell, broke the mould when the period drama series – mostly in Japanese and hailed for its authenticity – won 18 Emmy awards in September.

Other recent Japanese works have also become worldwide hits.

Franco-American-Japanese show Drops Of God (2023 to present), based on a manga of the same name, won best drama series at the International Emmy Awards in November.

Netflix’s 2023 adaptation of the manga superhit One Piece – starring Mexican actor Inaki Godoy as the lead – was hailed by viewers and critics alike and will return for a second season.

More adaptations of major manga and anime hits are in the works, including the superhero adventures of My Hero Academia and the ninja escapades of Naruto.

“Demand from Western markets is clearly increasing,” said Ms Kaori Ikeda, managing director at Tiffcom, the content trade fair affiliated with the Tokyo International Film Festival.

But Japanese companies lack know-how when it comes to things like negotiating rights, she told AFP.

So Tiffcom has organised Tokyo Story Market, a space to facilitate networking and meetings between international producers and Japanese publishers.

Foreign studios are also getting better at avoiding some of the pitfalls of the past, such as the film version of the manga Ghost In The Shell (2017) starring American actress Scarlett Johansson.

Critics accused the movie, whose main actors except Takeshi Kitano were all non-Japanese, of “whitewashing”.

Similarly, the 2017 supernatural thriller Death Note was panned for veering too far from the original manga.

“Manga authors are highly respected and fan communities are very vigilant,” said Mr Klaus Zimmermann, producer of Drops Of God.

His adaptation takes some liberties, such as starring a French actor as one of the main characters, but Mr Zimmermann insists it was developed in collaboration with the authors of the original manga.

“It was about finding the spirit of the manga so as not to distort it,” he told AFP.

Mr Yuki Takamatsu, a rights negotiator at the manga’s publishing house Kodansha, said the process of adapting Drops Of God was “amazing”.

“Everyone was open to tackling those challenges together... At every step, everyone was understanding about how we should do it,” he said.

Past failures were in part down to publishers struggling to communicate their wishes to foreign producers, who in turn lacked a proper understanding of manga and anime, said Mr Takamatsu.

“Just 15, 20 years ago, most of the inquiries we received from those big studios were like, hey, I know Dragon Ball, do you have Dragon Ball IP (intellectual property)?” he told AFP.

“But nowadays, especially since Covid-19, the producers in their 30s, 40s, they watch anime together with their kids on Netflix or Amazon” and then reach out, he said.

Japanese broadcasters have also become better at presenting and marketing their content abroad, said Mr Makito Sugiyama, executive director at the Broadcast Program Export Association of Japan (BEAJ).

This includes their participation at global events such as Mipcom in Cannes, an annual trade show for the television industry, Mr Sugiyama said.

Japanese broadcasters have long had success selling show concepts abroad, like the one for America’s Funniest Home Videos (1989 to present), known in Britain as You’ve Been Framed (1990 to present) – both of which were based on a Japanese variety series.

Now, some Japanese dramas are also finding a wider echo abroad.

Nippon TV’s original drama Mother (2010) became a hit thanks in part to its Turkish remake (2016 to 2017), and has been broadcast in around 50 countries.

Western viewers have overcome their initial reluctance to watch series with Asian actors, believes Mr Masaru Akiyama, chief executive of BEAJ.

“They have become used to it, they don’t care any more. They want to see, they want to feel the stories.”

Shogun was “a game changer for Japan”, he added, and Ms Ikeda agrees.

“That a samurai story with such attention to historical detail can become mainstream entertainment is proof of the potential” of Japanese content, she said. AFP