Justin Sevakis Discusses Traditional Anime and the Future Prospects of AnimEigo
In February, it was publicized that AnimEigo would be acquired by MediaOCD, managed by Justin Sevakis. Nearly a year later, I managed to connect with him to check on his progress.
AnimEigo holds a unique position in anime history outside of Japan, serving as one of the initial official distributors that laid the groundwork for the present-day conveniences we take for granted.
Given the significance of AnimEigo, assuming control of such a company isn't a simple task. I was curious to learn how Justin ended up in this situation.
“I was working on a documentary project about the emergence of the anime industry in the English-speaking world, arranging an interview with Robert Woodhead in D.C. at Otakon. We concluded the interview, and he mentioned his impending retirement and asked if I'd be interested in taking over the company. I felt incredibly flattered. In collaboration with Natsumi, who handled the day-to-day affairs of AnimEigo, we discussed the terms and about 7 months later, we inked the deal.
“Undeniably, it’s consumed a considerable portion of my daily life. There's an immense workload to tackle. Fortunately, I have a brilliant team that has stepped up to assist, but we were already pushing ourselves hard prior to this, so it's an adjustment. We are dedicated to not compromising on any aspects.
“We continue to collaborate with Discotek, which will result in a significant overlap, but every boutique publisher is, to some extent, a representation of its owners' preferences. Since we handle all production in-house, we are in a position to take more risks on titles Discotek might overlook. We also plan to focus more on marketing individual titles, as the popular 'household name' level anime is mostly out of our price range for now, and because discovering hidden gems is in our DNA. We'll also use our resources to create more bonus material when feasible.”
Justin also has ambitious plans for the further development of AnimEigo. He shares these plans in detail.
“It's a lengthy history, but since the DVD crash in 2007 or so, AnimEigo has mainly been involved in one-off projects funded through Kickstarter every now and then. With such a limited output, it wasn't a financially viable business. Most of 2024 was spent preparing for one release each month, reintroducing ourselves to people, rebranding, and modernizing. For 2025, we plan to see if all this work has paid off by releasing more unheard-of titles, increasing our online presence, and generating excitement for lesser-known but exceptional anime.
“Looking back, it's a far-off world compared to 1988. When AnimEigo began, uncut, subtitled, or even faithfully dubbed anime were unheard of, let alone VHS fansubs. The small fan community struggled to gain acceptance for Japanese artistic styles in the United States. Japanese video games often had different artwork for American releases due to fear of unfavorable reception to the art style. Now, anime-related merchandise is ubiquitous and can be found at numerous stores in the mall. Sometimes it feels like I've entered an alternate reality.”
This alternate reality also mirrors the current challenges facing the anime industry outside of Japan, and Justin provided insightful observations on some of the subpar Western IP adaptations we've encountered.
“The main issue is the sheer volume of new content. Over 60 shows are released each season, most of which fail to find an audience and are quickly forgotten. It's a monumental waste of resources. Marketing individual titles is challenging, and it's hard to create new 'classics.' Then there's the issue of most of the business being controlled by Crunchyroll/Sony Pictures, who do a commendable job, but are often stretched too thin, leading to some exceptional shows slipping through their fingers.
“On the other hand, outside financing for anime has been a mixed blessing. It has led to the creation of some remarkable productions, but mostly we've seen half-hearted adaptations of Western IP that few are interested in. I understand the respect Western film studios and streamers have shown anime studios, allowing them to pursue their creative endeavors, but I am equally concerned about the green-lighting process and the decision-making on which new shows to invest in. Those decisions lead to the production of 'safe' titles, which can be rather bland. Even the decision of which manga and light novels to adapt, which new ideas to try, and who to hire, these decisions can be creative and I believe a significant part of the allure of any foreign country's creative output is due to these decisions, which determine which stories get told.”
Justin expresses his satisfaction with the growing recognition of anime by the broader entertainment industry but is cautious about the potential impact of trying to cater to a wider audience, fearing it might lead to 'lowest-common-denominator' storytelling, as has been the case in the U.S. film industry.
Initially, when anime was exclusively intended for the domestic market, there was a feeling that no one else was observing their creations. This situation irritated some creators, but looking back, it might have offered creative freedom. TV series were primarily focused on marketing sponsor goods, particularly toys, but direct-to-video productions could make a profit just by selling a few thousand copies to rental shops within Japan. This led to the production of some bizarrely innovative content, much of which found success in the U.S. and U.K. in the 90s.
These days, Western fans are drawn to delve into the past and cherish the rudimentary, hand-drawn appeal of pre-digital era anime. Shows like Bubblegum Crisis and Vampire Princess Miyu are experiencing a resurgence in popularity among fans who didn't even exist during their initial release. Preserving and making these historical gems available again is essential, and that's the primary objective.
Personally, I gravitate towards ethereal, introspective works. Film classics like Isao Takahata's Only Yesterday, Mamoru Oshii's Ghost in the Shell and Patlabor 2: The Movie, and lesser-known titles such as GoShogun: The Time Étranger capture my interest. I appreciate any content that evokes deep emotions, whether it's sports anime, magical girl shows, or anything else that showcases kids dealing with hardships.
To explore Justin's perspective on Classic Anime's appeal and younger viewers' enthusiasm, he made an intriguing observation. Broadly speaking, people express a nostalgia for the pre-smartphone, pre-internet era. We've come to understand that the lifestyle we've developed around these technologies has a detrimental impact on our mental health. The Japanese culture of yesteryears seemed more mysterious and culturally distant to Westerners, fueling a sense of nostalgia tied to this foreign yet alluring enigma. Anime, in particular, has always provided an escape from reality, and pairing it with this nostalgic past simply adds to this warm, reminiscent feeling. Furthermore, there's an enormous amount of content to explore in anime's 40-year history, making it virtually impossible not to find something resonant with your sentiments.
As for the future, it's challenging to predict, but it's heartening to witness younger generations embracing media from earlier eras without prejudice. I personally didn't share this sentiment during my formative years.
If you're interested in AnimEigo's recent releases, check out my Blu-ray reviews for Riding Bean, Otaku no Video, and Megazone 23. Stay connected with me on X, Facebook, and YouTube. I also manage Mecha Damashii, and you can find me featured in the current Giant Robots exhibition touring Japan.
Justin mentioned collaborating with Discotek after acquiring AnimEigo, allowing them to take more risks on titles Discotek might overlook. (AnimEigo, Discotek)
During the interview, Justin shared his plans to increase AnimEigo's online presence and release more unheard-of titles in 2025. (AnimEigo, interview, Justin Sevakis)
The acquisition of AnimEigo by MediaOCD was significant, as AnimEigo played a crucial role in laying the groundwork for present-day anime conveniences. (AnimEigo, MediaOCD)
Justin's team works hard to market individual titles and create bonus material, focusing on discovering hidden gems and promoting lesser-known anime. (AnimEigo, team, marketing, bonus material)
Justin also discussed the challenges facing the anime industry outside of Japan, including the overwhelming volume of new content and the impact of outside financing on adaptation decisions. (animé, anime industry, Justin Sevakis)
