Anime and Manga are different storytelling media. Although they both are closely related and established in Japan, they are lastly two different things. Anime is Japanese animated films, which is literally animation when written as a loanword in Japanese. Manga is Japanese comics, which is typically black and white in the book. However, not every anime made from a manga and most manga hardly made into anime. In term of an animation industry, animated films are very popular throughout the world, even Japanese animated films are confronting against two giant animated films as Universal and Disney. Therefore, it will not be easy to distribute Japanese animated films from current market (domestic market) into a new market (international market). In comparison, cultural and social differences in each country will influence on Japanese animated films, as well as a political and economic policy which are determined by a host country. Planning and analysis of the basic elements of an international marketing are considerably necessary. The question is what the first thing will be considered. If customers are not willing to buy it, it does not matter how well, or innovative, or reasonably priced a product is, it will fail. Customer development is the first process of an international marketing, which is supposed to deeply study and find out the customer needs. The second process of an international marketing is to look at the overall size of the market for researching how the market size is, and who the most is holding in the market share, as well as the impact of Japanese animation is viewed from a cultural or social perspective, including there is little empirical analysis covering statistical quantitative quantities and information collected from different countries and regions. The last process of an international marketing is the product development, which is able to reach the new target group or market. The technology will be used and related in this process. Therefore, the objectives of the report are to firstly analyze the factors and problems of potential cultural and social differences in international marketing. Secondly, examination and evaluation of the overall size of the market in quantitative statistics. Lastly, the product development will be suitable for the new target group and market.
According to the East Asian Social Survey Data Archive (2008), few empirical analyses have been performed on a statistically representative sample from different East Asian regions, as Taiwan, South Korea, and China. The technical analysis used for a research of the characteristics of a consumption of Japanese animation audiences in East Asia regions is based on small, and medium scale research, such as first-hand observations, interviews, and questionnaire surveys (Hernández, A., Hirai, T., 2015). Although many people believe that Japanese animation audiences aged over 18 are mainly male, in the sample there was a slight tendency to find female audiences. There were also differences in Taiwan and Japan in relation to the preferences of the age groups. Japan has a larger older audience than Taiwan, and an important part of that audience is composed of parents who watch animation with their children. This differs from Taiwan where the majority of the audience is composed of high-school students, while Chinese and South Korean audiences have similar tendencies to that of Taiwan (Sun, 2010).
Analysis method and models
The logistic regression analysis model used for an investigation of the determinants of the consumption of Japanese animation audiences in the sample. The analysis were grouped into two major categories: there were (1) the basic social characteristics of the respondents (including age, gender, years of schooling, location, and working), and (2) the factors regarding the consumption of other popular media (e.g. Korean drama consumption, and Chinese movie consumption).
The logistic regression model
As the result of the logistic regression model is shown in the table 1.1 above, these indicate that the probability of a potential event in the sample, which regarding to watching Japanese animation, by presenting the level of increase or decrease in odds. For instance, the age of the respondents between 35 and 39 in Taiwan, watching anime were close to half (0.57 times lower) of those aged under 25, that was reference category. This essentially means that the probability of persons in their late 30s watching anime is approximately 43 percent, which compared to persons fewer than 25.
Analysis results of Taiwan
The respondents aged between 35 and 39 were less likely to watch anime, compared to the persons aged under 25, while the variable of years of schooling had a little positive effect. Those living in the suburbs (watching 1.565 times), and small city (watching 1.585 times) were positively associated with anime watching, compared to the big city. These indicate that they were more likely to watch anime than those living in the big city. In addition, those watching Korean dramas were 1.388 times more likely to also watch anime, compared to those who do not watch Korean dramas. In addition, those watching Chinese movies were 2.583 times more likely to watch anime, compared to those who do not watch Chinese movies. On the other hand, the variables of a gender and working were not significant. Therefore, they could not be considered the determinants of anime consumption in Taiwan.
Analysis results of South Korea
The respondents aged between 30 and 34 were 0.623 times less likely to watch anime, compared to the persons aged fewer than 25. The respondents aged between 35 and 39 were 0.522 times less likely to watch anime. Although they both were a significantly negative effect, the respondents with more years of schooling were significantly more likely to watch anime. As the previous study of Taiwan, the dummy variable of watching Chinese movies also were extremely strong effect in South Korea, compared to those who do not watch anime, while those watching Chinese movies were 2.619 times more likely to also watch anime. In contrast, the variables of a gender, working, and the dummy variable regarding Korean dramas consumption were not significant.
Analysis results of China
The respondents aged between 25 and 29, and between 30 and 34, and between 35 and 39 were 0.405, 0.293, and 0.225 by the following, less likely to watch anime. These indicate that a greater age has a more negative effect on watching anime, compared to those aged under 25, including Taiwan and South Korea. On the other hand, years of schooling were a positive effect. It means that watching anime is more likely among those with the highest rate of schooling. Those living in the suburbs, small city, and country village were less likely to watch anime. The higher rates of working were a little effect in decreasing the proportion of anime consumption. In addition, both of the dummy variables regarding the watching Korean dramas and Chinese movies were significantly positive, compared to those who do not watch. Lastly, the variable of a gender was not significant.
As the previous part, in customer development dimension, there are not only kid’s animation works, but also teens and family animation works are increasing in overseas. In term of overseas revenues of Japanese animation industry, from the figure 2.1 below this, these show that the number of contracts quadrupled and revenues have significantly increased in oversea markets. It also shows that anime industry is proactively and extremely engaging in overseas markets.
Although the export values remained hardly changed in 2009 to 2014, then the revenue suddenly increased from 19.5 billion yen to 34.9 billion yen (recorded the highest revenue ever) in 2015. The important determinant of increased revenue is attributed to “shopping sprees” by China. However, the revenue increases in Asia and North America markets, the remarkable increase in Chinese marker constitutes more than half of the increase. It looks like the trend simmering beneath, or it is probably happening another bubble again, the fourth Anime boom has already arrived, but some countries is not likely to be easy in consideration the market. Especially, all of industries in China are subordinate to the politics and bombarded with social situation of the moment. Therefore, it is difficult to consider the market shifts without any political intervention in China.
Market share and competitors
Despite the revenues of Japanese anime will obtain from various items, as well as overseas Japanese animation revenues (movie, TV, video, etc.). The most revenue, which extremely influences on Japanese anime industry, is likely to be merchandising and oversea markets. Furthermore, there are essentially two main competitors of Japanese anime. In term of the internal market (East Asia), the competitor is likely Korean Dramas, which attracted attention from adults, including Chinese movies. However, these two are not the same animation industry as Japanese Anime. In term of the external market (US), the market has giant companies as The Walt Disney Company, DreamWorks Studios, Pixar Animation, etc.
As the figure above, the market has two different factor market segments, that is, one animation for children, and another one animation for young adult people. These two segments are divided by the content of an animation because violence, fear inducing images, nudity, vulgar words, and other sensitive constructs are considered within this category; a guardian’s severe attention is required. It does not divide by gender. Outside of these two segments, there the adult segment with graphic nudity and gay contents (Itagoshi, 2014).
In fact, the children market does not require an essential knowledge of storyline prior watching the anime to enjoy and participate in the characters. They will most be introduced to the Anime by their parents leaving the TV on, or they may see it in passing. They just recognize the content as shown in the Anime without any references to which country the character lives in, because they are receptive to the characters as shown on TV, it sometimes needs to be connections different forms of character exposure, such as retail goods. Accordingly, companies need to invest in an advertising the characters within many more media channels to attract the children for their products and services, it might be often a big financial investment. Moreover, once the children likes the character, they are loyal to the Anime conglomerate they will not only watch the show but to go to the movies, buy DVDs and other related character goods. Once the marketing manager, or marketer reach this level of understanding it is highly capable to appeal to mass market (Itagoshi, 2014).
As the young adult market, it will be focusing more on their niche interests compared to the children market. They are looking for specific storyline they are interested in, so they are able to relate to the storyline of Anime and the characters. Once they get hooked on the Anime, they will find out the franchises they would like to watch and try to find out more information on this subject. They swap the information with friends and find out new franchises to watch. Leading American properties in the market are likely Superman, Iron-Man, leading titles of DC and Marvel comics. In the same category, there are Japanese franchises like Naruto, Dragonball, and etc. Sometime many teenagers or college students dressed as the characters from the Anime in Anime conventions. Storylines are complex and they tend to present the different types of a personality, and these elements are enjoyable for this age group. Therefore, the market is based off of Manga comics that are created through the same formula as the young adult market anime in the US (Itagoshi, 2014).
Product development is an integral part of any business. Innovation and invention are the two main ways through which this can be achieved, with a more popularity enjoyed by the former than the latter. Every new product that is to be developed must be offering the customers with some added benefits and extra features. Unless the customers get something extra or different from the available products already in the market, there is no requirement for them to be buying the current product or service in the first place (Gandia & Brion, 2016).
With the global slump in the manga industry, the publishers now must think of new ways which would be beneficial for the industry. What remains as an interesting area is the fact that anime has still a greater market share than manga (Madeley, 2015). The domestic anime industry is the biggest contributor of the global sales. Manga itself did not perform very well in the global market. Rather, many subsidiary industries such as anime, DVDs, movies and licenses have all had to be taken into the account. The primary texts and plots or storylines have been borrowed from manga and then used extensively by the animation films and other media forms. East Asia has a huge market for the manga industry (He, 2014). The rise of these markets have again ignited the hopes for the manga industry to be generating business again. After the global downward spiral that ended during 2009. The Cool japan program has invested $ 500 million to help the industry get a jumpstart once more.
The products that are offered by the industry have been experiencing somewhat of a poor reciprocation from the otherwise excessively enthusiastic followers. There may be newer strategies that could help the industry to gain strength once more. Digital marketing and making the manga contents available online is something that could be done to target the young audience properly so that they can avail the comics at their own will and from whenever they wish to (Berndt, 2014). The east Asian market also gives the publishers to use the common ethnographic origins and the common cultural background could also be used efficiently and strategically to ensure that these markets can be penetrated the most (Hernandez & Hirai, 2015).
Streaming the anime online could prove to be helpful for the companies. Even though most of the manga are never made into anime, the ones that are actually made into animated series or films are often the first exposure to the world of manga for many. Online streaming the anime could help the customers to continue to watch their preferred anime without having to resort to illegal pirate websites. The products could also be marketed in the local markets of the East Asian countries through translations and using local languages. This would be of immense help to the gain higher exposure for the manga sector (Uehara, Washida & Matsui, 2014).
New products, both anime and manga could be tested as digital-only products to see the market reactions and how they are being accepted by the audience. The East Asian countries have a reputation for a population that is tech savvy and very comfortable in using the internet for almost everything (Hernandez & Hirai, 2015). This would be mean that the population would be accessing manga material more, if they have the option to do so.
Making live action movies and series is also a good way to boost the sales of the manga industry. The films serve almost the same purpose as anime: to help manga gain better exposure. Adopting newer content to help the industry to reach out to a greater number of customer base would also be feasible for the industry. The huge population of the LGBTQ community in south-east Asian countries could also be more accepting towards the new contents, if the industry could incorporate these themes (Hernandez & Hirai, 2015). Romantic themes are always popular, irrespective of the country. Romantic tales taking on a more contemporary and modern approach towards it could boost the sales of the manga industry once more. In this specific category, teens and young adults could be the targeted audience.
If these aforementioned strategies and tactics could be adopted efficiently, there is a high possibility that the Japanese manga industry would find, and establish itself in, a huge East Asian market.
Every organisation or industry is a set of functions and mechanisms that help the industry to operate and run smoothly. The Japanese manga industry is no different. There are many different facets and ways through which the industry works and functions. The industry is dependent on many other industries for the various resources that help the industry to continue with its business. Basically this industry is heavily dependent upon all the sub-industries of the publishing industries as well as other people are highly important for the industry, such as artists, illustrators, story developers and writers. These people all have integral roles to play in the industry and ensure that the operations are always serving the needs of the customers. The internal mechanisms of the industry have to be re-invented in order to make sure that the manga industry could be meeting the requirements of the new markets in the East Asian countries (Schodt, 2014).
While the US market has always shown more leniency towards lighter novel content and manga storylines, the East Asian markets and population offer a different customer populace who prefer a more philosophical approach towards life with deeper and more meaningful content. In this regard, the Japanese manga industry could also be publishing more products that the industry is more accustomed to, without having to change the style of their books; which only means that the content would be more loyal to the original form of the traditional Japanese manga and not altered too much (Uehara, Washida & Matsui, 2014). The new markets could also be introduced to the classic manga series from the previous millennium. This would better accustom the readers with the premise of manga and its styles or characteristics.
The East Asian countries have a good market for cartoons and comics are also a big part of the culture of this region. The entire market also has a good demand for manga. The cultural similarities and the similar ethnic backgrounds often help the manga industry to be able to deliver the exact contents that are demanded by the customers in this region. This would immensely help the Japanese market to venture further into the market of East Asian countries and also possibly introduce new materials that would be helpful in creating a boost for the entire sector of the Japanese economy.
Conclusion
The global manga industry is going through a bad business cycle, but on the other side, it is also trying to incorporate new strategies and development plans that are focused on re-enhancing the market position of the industry. New markets are being explored into and also related products are being introduced to both the new and existing markets. The companies, publishing houses and the experts are hopeful that these new tactics would be boosting the industry to gain back its lost momentum and once more instil the interest among the readers. The tough competition presented by the American comic publishers is also steep and the manga industry also aims to overcome the issue as well. Judging by the steps that are being taken, the industry is projected to once more dominate a large part of the graphic novel industry once more.
References
Berndt, J. (2014). 4 The Intercultural Challenge of the “Mangaesque”. Manga’s Cultural Crossroads, 5, 65.
Birtle, R. (2011). The Development and Future of the Japanese Ebook Market. Publishing Research Quarterly, 27(4), 345-353.
Cha, Kai-Ming, & Reid, Calvin. (2005). Manga in English: Born in the USA: American-style manga challenges the purists.(Manga American Style). Publishers Weekly, 252(41), 30-34,36.
Gandia, R., & Brion, S. (2016). How to Avoid Dependence in the Videogame Industry: The Case of Ankama. International Journal of Arts Management, 18(2), 26.
He, T. (2014). What can we learn from Japanese anime industries? The differences between domestic and overseas copyright protection strategies towards fan activities. The American Journal of Comparative Law, 62(4), 1009-1042.
Hernandez, A. D. H., & Hirai, T. (2015). The reception of Japanese animation and its determinants in Taiwan, South Korea and China. Animation, 10(2), 154-169.
Hernandez, A. H., & Hirai, T. (2015). The Reception of Japanese Animation and its Determinants in Taiwan, South Korea and China. Animation (17468477), 10(2), 154-169.
https://journals.sagepub.com.ezproxy.cqu.edu.au/doi/pdf/10.1177/1527476412436986
https://journals.sagepub.com.ezproxy.cqu.edu.au/doi/pdf/10.1177/1746847715589061
https://link-springer-com.ezproxy.cqu.edu.au/content/pdf/10.1007%2Fs12109-011-9247-y.pdf
https://www.zeetings.com/cqu-callan/5088-2472-6116-7616#page
Madeley, J. M. (2015). Transnational convergence culture: grassroots and corporate convergence in the conflict over amateur English-translated manga. Journal of Graphic Novels and Comics, 6(4), 367-381.
Schodt, F. L. (2014). Dreamland Japan: Writings on modern manga. Stone Bridge Press, Inc..
Uehara, W., Washida, Y., & Matsui, T. (2014, July).Do Foreign Creative Industry Products Contribute To The Promotion Of Products Imported From The Same Country?: Case Of Japanese And Korean Products In Emerging Economies. In 2014 Global Marketing Conference at Singapore (pp. 1909-1912).
Essay Writing Service Features
Our Experience
No matter how complex your assignment is, we can find the right professional for your specific task. Contact Essay is an essay writing company that hires only the smartest minds to help you with your projects. Our expertise allows us to provide students with high-quality academic writing, editing & proofreading services.
Free Features
Free revision policy
$10Free bibliography & reference
$8Free title page
$8Free formatting
$8How Our Essay Writing Service Works
First, you will need to complete an order form. It's not difficult but, in case there is anything you find not to be clear, you may always call us so that we can guide you through it. On the order form, you will need to include some basic information concerning your order: subject, topic, number of pages, etc. We also encourage our clients to upload any relevant information or sources that will help.
Complete the order form
Once we have all the information and instructions that we need, we select the most suitable writer for your assignment. While everything seems to be clear, the writer, who has complete knowledge of the subject, may need clarification from you. It is at that point that you would receive a call or email from us.
Writer’s assignment
As soon as the writer has finished, it will be delivered both to the website and to your email address so that you will not miss it. If your deadline is close at hand, we will place a call to you to make sure that you receive the paper on time.
Completing the order and download