So, /a/, I want to discuss cases of baka gaijin making into the anime industry. Do you know of any?
Are there authors or even directors who made it there?
You mean the one from NGNL?
His parents are both Japanese and he was raised in Japan since a child.
Even then he went through ijime.
Sugoi advice, omaetachi, any living examples of such tactics giving fruit?
That would be good on my ears.
Yes, Bahi is the only one that came to mind, even so his roles are pretty minor out there, being delegated scenes, not creating stuff.
There is that Swedish woman who has a published 4koma journal comic.
hai guys, whats going on here?
Nah, commissioned work (like Afro Samurai, Gotham Knight, Animatrix, Interstella 5555) or co-productions (like Sherlock Hound) doesn't count, because the other countries basically are paying to produce it, it's not a matter of "outside talent" being used.
>any living examples of such tactics giving fruit?
Not directly relevant, but Danny Choo took someone under his wing who previously had zero programming knowledge iirc.
He gave the guy a week to learn stuffs and to prove himself worthy of investment, and the guy did just that.
In order to prove to your potential sponsors that you are worthy of their investment, you need to have your work published first and/or give them a draft in nip.
It's theoretically simple, but requires insane amount of effort.
Isn't Danny Choo gaijin himself?
From how you put it, the barrier seems to be almost purely linguistic, not due to the market being too closed/restrict.
Could it be content creators are this uninterested in getting to Nippon?
Also, we have tunneled vision because we live immersed in otaku culture daily, but perhaps it's not even such a big fish to start with, thus the lack of interest.
>long dead guy
Nah, this is more like someone picking Sherlock Holmes or Snowhite and making anime about it.
Ye, he's a gaijin, but he mastered nipspeak decades ago and has been featured occasionally in nip TV for years.
Now he has his own show in nip cable or something.
I suppose the only problematic barrier is linguistic as you said, but this barrier is hard to surpass, as in fucking hard.
Nips are awfully risk averse and proud of their own language. They would never consider publishing the works of some young startup guy who can only write webnovels in English no matter how good of a following he has.
Either you need to establish your name in physical novel format first -and obviously had good sales-, or present your draft to the editors in nip -or take an attempt at their webnovel market-.
Writing stuffs in your own language is already brain draining, writing in nip is doubly so, if not more. Not to mention you need to adjust stuffs you wrote to suit nip tastes.
For the rest of the world with sane mind, it's not a good enough endeavor to justify their effort.
For us weebs, the prospect is tempting, but it would drain most of your lifetime, and that aspect scares most people.
If this guy managed, so can you.
Now for a better example there's DaHootch, but his parents are japanese so that likely made things easier. He's still american though.
Ah, that's some good insight, makes sense.
When I think foreigners, though, I generally don't think USA, because they're mostly comfortable being already at the top of the industry and speaking the most useful language.
But if you think back on Hollywood's golden times, many, MANY talented Europeans were brought to the American film industry, and still are nowadays - Russia, Germany, France, Poland, even a few British directors.
So you'd think professionals from these countries, with more on their portfolio regarding migration towards opportunity and dealing with linguistic barriers, would have had some shots at the Nip industry.
I for one don't see language as much of a barrier, I've taken Japanese now and it's my 5th language, although it's probably the hardest I've taken so far.
I'm more of a David-kun myself.
Found this guy here too,
Felipe Smith - Peepo Choo.
Hey, at least I didn't post a picture of the guy itself.