You raise a lot of complicated issues in this e-mail. I'm sure that you've heard this before, but there is more than one thing to consider when you are trying to market anime to any audience. First, you have to determine the target audience. DRAGONBALL is a younger kid's title, while DRAGONBALL Z is meant for an older group of children, realistically speaking. And, of course, PERFECT BLUE is meant to be—and has always been marketed as—a film for adults. While DRAGONBALL Z was edited (and sometimes heavily) to get it onto American television, you really shouldn't expect PERFECT BLUE to be edited, especially since there are no public plans to get this particular show on television.
The next thing to consider is, of course, cultural differences. These are largely subjective and differ from person to person. For example, American television is often considered to be particularly violent by many standards and that is acceptable. But when a children's show is violent, that's another story. And things that were acceptable for a Japanese audience were not deemed acceptable to American audiences, hence a lot of the editing. (Although I seriously doubt that the later episodes of DRAGONBALL Z were marketed to the "3 and up" crowd.)
Video releases offer wider possibilities when it comes to editing, as there are fewer restrictions, and the market in many ways polices itself. When Pioneer started releasing the DRAGONBALL Z movies, they released two versions, an uncut version and an edited one suitable for younger viewers, that was more in line with what they would see on television. Other companies have done this as well, including Central Park Media's release of both an edited and uncut BATTLE ARENA TOSHINDEN. Anime companies tend to be more sensitive to editing, and realize that at least a portion of their audience is die-hard fans. Besides, many of these companies are releasing anime precisely because it is aimed at an older age group than the stuff that inhabits the afternoon airwaves.
The two titles you mention having specific concerns about are PERFECT BLUE and MONONOKE HIME. As part of the contract, Disney is unable to cut or otherwise edit the film, so there should be little to worry about. It will be released with all of its scenes intact, and that is probably why it will see release under the Miramax label, since it is so far from typical G-rated Disney feature animation. Disney wants to release it, but they know the audience for MONONOKE is different from the audience for the latest Mickey Mouse cartoon. Likewise, PERFECT BLUE has been billed as a psychological thriller, and there's really no way that it could be one if they edited it. Manga Entertainment will no doubt leave the film completely intact and market it as animation for adults, much like they did with GHOST IN THE SHELL. In fact, my only concern about these films is when they're coming out, as both have had their release dates delayed again.
Your last issue is perhaps the most difficult of all: what can a fan do to protect his or her favorite title from being edited into something unrecognizable? Polite letters to companies are often read and listened to, but by the time such letters reach the companies, production on a title is most likely underway. Still, if there is something you don't like—or you do like—it's worth dropping the people responsible a note. People do listen, and they do try to make their products better. After all, if more people like it, that means more sales.

Digital USA
From: Brett Achorn

I was just reading your Anime Goes Digital article. For an American movie that'll be doing 2D/3D integration like never before, I'll shamelessly plug Warner Bros' IRON GIANT (some trailers are out on the net and theaters already, released date Aug 6th). The main character is a giant robot done entirely in CGI, rendered with 2D-style ink lines, and processed to drop straight into the 2D Animo package fully inked and painted.
The movie isn't anime based (it's based on a British children's novel by Ted Hughes), but it shows how computers and traditional animation are moving closer.

Well a lot of anime has been based on literary works from other countries. The WORLD MASTERPIECE THEATER series done by Nippon Animation comes immediately to mind, with shows and movies such as THE DOG OF FLANDERS and ROMEO'S BLUE SKIES.
It will be interesting to see how a U.S. animation studio chooses to incorporate this mixture of 2D and extensive 3D in a feature film. Meanwhile, any word on the WB LUPIN movie that we've all been hearing rumors about?

A Vampire by Any Other Name...
From: Ben Dimagmaliw

Just a side note to the article on the rise of CG in anime, BLOOD is not the new VAMPIRE HUNTER D, as the text seems to imply. They are separate projects with a vampire theme. BLOOD is being done by Production I.G. and Madhouse is doing "D."
Thought you might like the clarification.

You're not the only person to point this out, and you're right. I mixed up the two productions. Hm... two top anime studios doing movies about vampires and using lots of CG. Go figure... At any rate, the error has been corrected. Thanks for writing.

Japanese Wanted!
From: Dan Flannery

I really like your magazine because it provides intelligently written reviews of domestic and import products on a consistent basis. I'm been reading EX for about two years now, and the level of quality has never dropped.
I have a question that can probably best be answered by your crack team of bilingual reviewers. I'm thinking about majoring in Japanese for a career, but also so that I can understand native Japanese anime/manga. Do you have any recommendations on colleges or universities that have strong Japanese programs?

Thanks for the kind words. Anime and manga was one of the things that got me to switch my major from microbiology to Japanese. (Well, that and a very strong dislike of organic chemistry...)
If you're looking for schools, it's best to contact them directly to see what kind of programs they offer. Many offer undergraduate majors that combine language, history, and literature. I notice from your e-mail address that you're from Michigan. While I went to school in Arizona, my major advisor for grad school got her Ph.D. in Japanese from The University of Michigan. Other schools that I know of with very strong reputations are Cornell, MIT, and The University of Hawaii. Of course, it really depends on what you want out of the program.

Vampire Wanted!
From: Brian

Hey people, really nice website, keep up the excellent work! I just have one simple question. I really like an anime called VAMPIRE HUNTER D and was told that it is no longer available to purchase but that it was to be re-released in the States by another company. I was wondering if you might have any info on this rumor.

Well, yeah, we do happen to know what's going on with it. And it's not a rumor—it's the truth. In our News section a few weeks ago we reported that Urban Vision had recent acquired the rights to this title and will be re-releasing it (with the same dub) later this year.

Price Wars?
From: Daniel Santos

I've been into anime for over 3 years now and one question has been nagging at me: Why do subbed titles cost more than dubbed titles when in theory it's cheaper to make a subbed title than shell out money for voice actors and directors to dub a movie?

It's not as simple as you might think, actually. Sure, it's cheaper to make a subtitle than a dub. You hire a translator, a subtitler, and people to do video mastering and soon enough you're done. Dubs require an ADR script to be written, voice actors to be cast, studio time to be rented… The costs really do increase.
So why do people do it? Simple. Dubs sell better. Retailers are more accepting of English dubs rather than subtitles because for them it is seen as less of a risk. Many people do not like to read subtitles (anime otaku and foreign film fans aside), so they really don't want subtitles getting in the way. And if that's what people will buy, that's what retailers will order. And since the dubs are what really generate the high volume of sales, that's what gets made.
Subtitled tapes are more expensive most often because they do smaller runs of the tapes, so the cost per tape is higher than that of an English dub. (Or so it seems, anyway).

Where's Kenshin?
From: Daniel Brown

I really like your site even though I have only been subscribed for a short time. One thing that I have not been able to find is any information on the U.S. release of RUROUNI KENSHIN. Please help a desperate man, do you have any info?

Back when I wrote the KENSHIN feature earlier this year, I got email from a horde of people telling me that it was indeed coming to the States. Since then, I have heard two different rumors about how KENSHIN will be making his U.S. appearance. However, until I receive a positive confirmation directly from the parties involved, I really can't say anything.

Some Questions
From: Victor Kim

Wow, EX just keeps getting better with every issue. I really enjoyed the latest article on computer usage. I have a few questions that I hope someone can answer:

	1.	How does the "typical" staff of EX keep up with what's going on with anime in Japan? Import magazines? Massive LD purchases? Satellite TV? Renting stacks of videos at local Japanese store? All of the above?
	2.	Do you know of any plans by companies like DirecTV to bring Japanese channels to North America?
	3.	A couple of Japanese video rental stores in my local area have told me that they're simply not getting any new shows taped off the broadcast due to copyright complications. Is this a common scenario these days? Any suggestions on where I could turn to in order to locate TV broadcasts?
	4.	Why are import DVDs (region 2) for anime so expensive (compared to DVD prices in U.S.)? Are DVDs in general not catching on as well in Japan as they are in the U.S.?

Keep up the great work, EX.

How do we keep up? Well, we use almost all of the methods you asked about above. Some of us do the magazine thing. Some of us still buy imports like crazy, and some of us beg, borrow, or steal tapes from friends in Japan.
As for cable TV or pay TV anime stations, I am not aware of any that are planned for the U.S. at this time. However, just because we don't know doesn't mean that there are any. There's the SciFi Saturday Anime (but it got moved to some horrible late late night timeslot I think), the STREET FIGHTER II movie was showing on HBO (I think it was HBO) and then there are some ADV titles showing up on the Action Channel, but that's about it. At this time, the demand for Japanese channels on DirecTV would probably be too low to make any money.
Getting tapes of TV broadcasts is getting harder. The copyright laws are tightening up; as a result, most local Japanese video stores no longer carry tapes of TV shows. Instead, they have to wait until they become commercially available, leading to much longer wait times. And of course, they are more expensive so that cuts down on the selection. Many stores have stopped carrying anime TV shows altogether now.
The DVD question has a lot of potential answers, but one of the most obvious is cost of living. Things are more expensive in Japan. A CD runs ¥3000 (roughly $30). Here, they're $17. That's nearly double the cost. Why? "Just because..."

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