![]() ![]() In particular, I strongly disagree with Canipa’s definition of a “showrunner” as a “screenwriter in charge of their own vision,” who has “the final call” on the story. ![]() Moving on, my first point of contention has to do with the “showrunner,” a role that is largely associated with the US TV industry. So my comments on Canipa’s video come from what I’ve learned over the last two years from several hundred podcast episodes, coupled with all the Japanese language interviews and commentaries I’ve consumed since 2011 or thereabouts. I started listening to them when I first launched my “On Anime Writing” project back in 2016, because I realised that I did not actually know how to talk about “screenwriting” in English. Let me start by noting that almost everything I’ve learned about screenwriting in relation to popular culture (TV shows, movies etc), comes from several English language podcasts, namely (1) Scriptnotes, (2) The Writers Panel, and (3) Storywonk’s series on Harry Potter, Star Wars, Buffy and the MCU. This post is my attempt to explain what my feedback was focused on, and thus, why I disagree with Canipa’s argument, and the related suggestion that “maybe we can introduce the idea of the showrunner, a screenwriter in charge of their own vision, into the anime industry.” It focuses on two issues-his definition of “showrunner” and how that is related to the “director,” and the question of how “authorship” is related to “writing.” I’d go so far as to say that it undermines the work I’ve been doing in the fandom. As such, the largest changes that I recommended weren’t reflected in the finished video, and his line of argument is something that I do not agree with. ![]() Less than a week ago, Canipa messaged me to ask if I’d be able to check a script he’d written “on Mari Okada/Anime Writing.” However, he recorded the script before he even sent it to me. Aka: a response to The Canipa Effect’s recent video on Okada Mari. ![]()
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