The present study examines the origins of the phenomenon called media-mix in Japan. Instead of focusing on the 1980s and later years, when Japanese media publishing and entertainment companies consciously use this term, the present study focuses on the early stages of evolution of both comic and animations industry. We propose a holistic approach inspired by media ecology theory, in order to verify how the strategy of companies taking their IPs across multiple media platforms and merchandises changed during these eras. By closely examining five cases, namely, Imokawa Mukuzo (1915), Sho-chan no Boken (1923), Nonki na Tosan (1923), Norakuro (1931) and Fuku-chan (1936), this paper traces the changes of the media environment as these IPs are taken across different media platforms and merchandises. Furthermore, the sentiment and regulations toward these media significantly affect the outcome and transmedial strategy adopted by these IPs during this era. Moreover, we argue that part of the transmedial strategy for intellectual properties that emerged in the 1930s, such as the Norakuro and Fuku-chan series, resemble today’s Japan’s media mix.
|Tidsskrift||Journal of College of Image, Arts and Sciences, Ritsumeikan University|
|Status||Udgivet - 20 dec. 2020|