The Business: What A Competent Corporate Executive Looks Like

This is another short video about Super Robot Wars Producer Terada, but the emphasis here is different. This one shows that he is, in fact, a competent corporate officer and unit manager.

You don't need to know either the game or the series Vifam to get the point here. Terada comprehends that a fictional work's core theme would be undermined by careless and heedless incorporation into an ensemble cast, so he decided to exclude it until he could create a game with conditions suitable for its themes.

That demonstrates knowledge of the source material, comprehension of his audience, and competent stewardship of corporate property to sustain long-term profitability and protect the brand strength and identity for all parties concerned.

You do not see this out of Western media companies- not even those not converged by the Death Cult. They are horrible about this because of the inter-generational contempt and disdain for the very things Terada respects and upholds.

I am not making the man out as a saint. I am telling you that he is what a corporate executive should be, for the entirely ordinary and plausible reasons of maintaining a healthy buisness relationship with one's partners and customers, and not the glorified pirates concerned only with short-term quarterly profits and the rapacious plundering of material and immaterial wealth in the manner of a locust swarm that scours a land barren of all life.

Yes, there are negatives to Japanese corporate practices--both defacto and dejure--but these are clear upsides born of a corporate environment that permits and encourages long-term strategy and planning. The Devil Mouse, Hasbro, etc. do not have this long-term thinking in their C-Suite or on their board which is a key reason for why there is so much utter contempt for anyone other than themselves (and, again, that's before the SJWs worm their way in).

It makes them risk-averse, but it also means that their successes become rock-solid pillars that endure; when they succeed, they stay that way. (e.g. the enduring appeal of their entertainment icons) Being so averse, convincing them to take a shot on a new thing--especially one of foreign origin--is not an easy thing to do, but it can be done and the debut of AMAIN and 86 prove it.

But we return to the big roadblock: getting their eyeballs on our work.

That is the problem to solve. Those shot-callers don't go looking outside of domestic venues much, if at all, so you'll have to go to them. That means, among other things, finding a way into the Japanese novel market (which means translating into Japanese and negotiating a different set of market conditions; don't expect to break through just by listing a Japanese translation on Amazon Japan).

Note to any Anglophone expat in Japan: This is your opportunity to make mad bank by bridging that gap.