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Working conditions In recent years, the anime industry has been accused by both Japanese and foreign media of underpaying and overworking its animators. [134][135][136] In response the Japanese Prime Minister Fumio Kishida promised to improve the working conditions and salary of all animators and
creators working in the industry. [137] A few anime studios such as MAPPA have taken actions to improve the working conditions of their employees. [138] There has also been a slight increase in production costs and animator pays during the COVID-19 pandemic. [139] On April 27, 2023, Nippon Anime Film Culture Association (NAFCA) was officially founded. The association aims to solve problems in the industry, including the improvement of conditions of the workers. [140][141] Globalization and cultural impact See also: Japanese pop culture in the United States, List of anime distributed in the United States, List of anime distributed in India, Japanese influence on Chinese culture, Japanese influence on Korean culture, Anime in hip hop, and List of highest-grossing anime films Anime Expo – one of the largest fan conventions in the Western world[142] Anime has become commercially profitable in Western countries,[143][144] as demonstrated by early commercially successful Western adaptations of anime, such as Astro Boy and Speed Racer. Early American adaptions in the 1960s made Japan expand into the continental European market, first with productions aimed at European and Japanese children, such as Heidi, Vicky the Viking and Barbapapa, which aired in various countries. Italy, Spain, and France[145][146] grew a particular interest in Japan's output, due to its cheap selling price and productive output. As of 2014, Italy imported the most anime outside Japan. [147] Anime and manga were introduced to France in the late 1970s and became massively popular in spite of a moral panic led by
French politicians in the 1980s and 1990s.
They are ambushed by the Beasts of Hell, led by the late Octava Espada. Even though the lieutenants managed to easily suppress them, it is revealed that the ceremony is a process of sending the late captains to Hell. Production[edit] Bleach was first conceived from Tite Kubo's desire to draw a shinigami (Soul Reaper) in a kimono, which formed the basis for the design of the Soul Reapers in the series. [2][3] At first, Kubo thought that the Soul Reapers should use guns, so the first title for the series was "Snipe" (as in "sniper"); however, this was changed with the inclusion of swords. [4] After that, the series was meant to be named "Black" due to the color of the Soul Reapers' clothes, but Kubo thought the title was too generic. He later tried the name of "White", but came to like "Bleach" more for its association with the color white and that he did not find it too obvious. [5] The original story concept was
submitted to Weekly Shōnen Jump shortly after the cancellation of Kubo's previous manga, Zombiepowder, but was at first rejected. [6] Manga artist Akira Toriyama saw the story and wrote a letter of encouragement to Kubo. [3] Bleach was accepted for publication a short time later in 2001, and was initially intended to be a shorter series, with a maximum serialization length of five years. [3] Early plans for the story did not include the hierarchical structure of the Soul Society, but did include some characters and elements that were not introduced into the plot until the Arrancar arc, such as Ichigo's Soul Reaper parentage. [2] Kubo has cited influences for elements of Bleach ranging from
other manga series to music, foreign language, architecture, and film.
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