Everyone Needs a Little Akiba

Sakurai: It’s also about taking things that can only be found in Japan and sharing them with the world.

Yoshida: It is. And more specifically, in regards to otaku culture, it’s things that can only be found in Akiba that are getting out there. That’s also why I think a lot of the “Cool Japan” strategy isn’t very effective.

Sakurai: Like what for example?

Yoshida: The Cool Japan policy on anime for example. I feel there’s a tendency to follow Hollywood movies too closely. But it shouldn’t be that way at all. The theatrical releases of anime that otaku are into don’t take the top spot at the box-office in Japan in the first place. They’re going about it the wrong way if their plan is to try and take the number one spot overseas somewhere.
What they need to do is establish an Akihabara in each language region first – just like how there is a China Town anywhere you go. If I were making the Cool Japan policy I would be trying to set up districts in all of the language regions – places where otaku can go and know they’re guaranteed a good time. In these Akiba towns you could use Japanese and it would expand your sphere of Japanese life overseas.

Sakurai: So not a Little Tokyo but a Little Akiba. The Japanese pop culture events that are held throughout the world are like little virtual Akihabaras and Harajukus that pop up in the various countries a few times a year. If you go to these events you can get your hands on items that you don’t normally come by, see things that interest you and be amongst like-minded friends.

Yoshida: First of all, we need to create a Cool Japan policy that paints a bigger picture for international strategy.

Sakurai: It’s true. It might even be an idea to have the sponsors of Japan-related events overseas assume central roles.

Yoshida: hat’s it. Little Akiba can only work as a hybrid between Japanese and local people. The latest fads should be whatever the people there deem them to be. It’s possible that things that didn’t take off in Japan find a market overseas. Anime that wasn’t popular in Japan might be a big hit in another country, for example.

Sakurai: You told me quite often back then how idols were “traditional culture.”

Yoshida: Idols as an entire system are fascinating. The performances, the dancing, the outfits, the relations in the group – it’s all fascinating. And it’s the individualities that make the story. So you never know who’s going to make it and who won’t. There are even idols who have evolved in ways that they themselves didn’t see coming. It’s not something that you can achieve just by doing the calculations.

Sakurai: I know exactly what you mean.