Intellectual Property Division 2024: The Content Working Group

◆Intellectual Property Division 2024: The Content Working Group

The new round of meetings for the government's Intellectual Property Headquarters has commenced. I am serving as the chair for the Content Working Group, which held a joint session with the Create Japan WG to align our content and Cool Japan policies. Because it was our initial meeting, we gave the floor to all committee members, which quickly exhausted our time. I wanted to expand on a few points here.

■Assessing Our Progress

Over the last decade, our content policy has successfully driven two main pillars: digital transformation and overseas expansion. The "announcement effect" of setting these clear national priorities gave the industry momentum, directly contributing to our recent successes in combating piracy.

Film producer and committee member Mr.Toyama cited Godzilla to argue that Japan possesses incredibly robust IP and character appeal, noting that traditional 2D animation remains highly viable globally. However, industry analyst Mr.Atsuo Nakayama raised a critical counterpoint: Japan faces a severe shortage of business talent capable of managing international marketing, advertising, and technology localization. We excel at creating things, but we lack the infrastructure to sell them globally. This talent bottleneck remains our biggest hurdle.

■The Looming Tech Shift

The digital landscape is shifting rapidly. Committee member Mr.Norikazu Yamaguchi noted that generative AI and blockchain are poised to fundamentally reshape the content industry. I completely agree. Japan fell behind in the first digital revolution and suffered a major setback; we are currently clawing our way back. If we miss the boat on these next-generation technologies, there will be no turning back.

Mr.Kusumoto (CEO of Cafe Company) suggested applying these advanced technologies to the culinary arts, using tech to protect food as intellectual property and promoting cross-industry collaborations between culinary brands and entertainment IP. Connecting our two strongest global exports—food and content—via technology to generate high value is exactly the kind of cross-ministry strategy we need. Executing this will require coordinated leadership across the Ministry of Agriculture, the Ministry of Economy (METI), and the Ministry of Tourism.

■The Need for a Central Command

Several members—including Mr.Numata from Telepack and representatives from Keidanren—pointed out that while the Cool Japan Fund exists, the nation lacks a centralized execution body equivalent to South Korea’s KOCCA (Korea Creative Content Agency). The need for a core agency has been raised repeatedly throughout the history of the Cool Japan policy, but it always stalls because it requires restructuring bureaucratic jurisdictions.

Content policy and Cool Japan policy have grown disconnected in recent years. Last year, we concluded that creative content serves as an "intermediate good"—a catalyst that drives massive economic ripple effects across tourism, food, and manufacturing. We need to quantify this ripple effect and use it to reunite our cultural and industrial strategies. Serving on both working groups, I intend to focus on bridging this gap.

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Cool Japan: Alcohol

 ◆Cool Japan: Alcohol

This episode explored Japan’s unique drinking culture.

Japan is a rare alcohol paradise where you can buy drinks 24/7, 365 days a year, and where falling asleep drunk in public carries virtually no stigma. The society is incredibly tolerant of alcohol and remarkably safe for those who indulge. But how do foreigners view this?

■The History of Nightlife

Historically, it was said that Kyoto was a city for fine clothing, Osaka for fine food, and Edo (ancient Tokyo) for heavy drinking. Because old Edo had a massive population of single working men, an incredibly vibrant outdoor drinking culture developed. Today, Tokyo still maintains a ratio of one izakaya for every 550 residents—virtually identical to the numbers from 200 years ago. Data even suggests that the average modern Tokyoite drinks roughly the same amount as their Edo ancestors. Back then, people drank from dawn, and the women drank just as heavily as the men.

Sake is brewed from rice, making it deeply intertwined with Shinto rituals and Japan's spiritual foundation. Even when the pandemic disrupted traditional drinking parties, the culture adapted seamlessly through remote drinking sessions and wellness routines.

■Beer and Whiskey

While Japanese whiskey took a century to achieve its current world-class reputation, Japanese beer underwent an equally impressive evolution. It is rich, crisp, and refreshing. Uniquely Japanese innovations focus heavily on texture—such as the obsession with achieving the perfect, creamy head of foam and maximizing "smoothness" (nodogoshi).

■Sake Temperature Culture

Oden, hot pot, and hot sake (atsukan) are staples of a Japanese winter, though they are now enjoyed year-round. Sake is unique globally because its flavor profile shifts dramatically depending on whether it is served ice-cold, at room temperature, or warmed. The fact that the industry features dedicated certified professionals (kan-sake-shi) who specialize solely in mastering serving temperatures demonstrates the incredible depth of the culture. 

While chilled sake has exploded in popularity overseas alongside Japanese cuisine, the global appreciation for warm sake is the next great frontier.

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Why NHK's "Cool Japan" Has Served Its Purpose

◆Why NHK's "Cool Japan" Has Served Its Purpose

NHK’s Cool Japan ran for 17 years starting in 2006. The premise was simple yet fascinating: foreigners living in Japan gathered to debate what makes the country truly "cool." It was a consistent ratings hit for the BS1 channel, but due to NHK consolidating its satellite broadcasts, my run as a monthly semi-regular panelist is coming to an end.

Appearing in roughly 80 episodes was an incredible education. Seeing Japan through foreign eyes acted as a mirror, forcing me to reexamine my own culture.

In our very first episode in 2006, the theme was "Sound." The panel pointed out how chatty and noisy Japanese elevators and vending machines are, yet our vacuum cleaners are engineered to be incredibly quiet. They noted how the sound of cicadas is perceived as a natural "voice" in Japan, but heard as mere background noise overseas (which is why it's often scrubbed when anime is exported). I still remember how eye-opening those early discussions were.

Initially, the topics stuck to pop culture staples like manga, anime, and video games. Over time, the scope exploded. Food naturally followed—ramen, rice bowls, and noodles. I personally pitched and produced episodes centered on Japanese coffee and gyoza culture.

What shocked me most was how highly our foreign guests praised aspects of Japanese society we take for granted: our sense of community, childcare systems, and volunteer culture. Thanks to the show, I learned that Japan has the highest density of public aquariums in the world, that no other country has so much heavy snowfall in heavily populated urban areas, and that Bukatsu (school club activities) has become an internationally recognized concept.

The Izakaya dining style—where everyone orders small plates at their own pace to share—is a completely novel form of culinary communication for Westerners. 

Even Japanese emojis reflect our culture; they use eye shapes to convey emotion whereas Western emojis rely on the mouth. This explains why the widespread use of face masks during the pandemic never hindered communication in Japan.

Once, we took a karaoke machine out onto the streets to prove that Japanese people are inherently shy. Ironically, the foreigners walked right past, while local Japanese people immediately grabbed the mic and started singing and dancing.

When asked what Japanese concept they wanted to export to their home countries, a Chinese panelist answered: Kyusyoku-toban (school lunch duty). In most countries, school meals are served by adults, but Japan's system teaches children accountability and hospitality from a young age. A Brazilian panelist answered: the KOBAN (neighborhood police box) system. 

In Brazil, police interactions can be tense and high-stakes; in Japan, the KOBAN is a safe haven where children and the elderly can drop by just to ask for directions.

Japan is a country full of hidden layers. Given our national tendency for low self-esteem, we should continue to let outsiders help us discover what makes this country great.

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iU President Gachon:Mr. Nobuyuki Hoshino

◆iU President Gachon:Mr. Nobuyuki Hoshino

Mr.Nobuyuki Hoshino is a baseball legend. As the ace pitcher for the Hankyu Braves (and later the Hanshin Tigers), he achieved double-digit wins for 11 consecutive years. He was famous for his incredibly slow, looping curveball—so slow that catchers reportedly caught it with their bare hands, and the return throw to the mound looked faster than the pitch itself. Yet, because of this extreme speed differential, his standard fastball felt blindingly fast to top hitters.

Watch his highlights here

■On Pitching

I didn't start out throwing slow pitches. Early on, I focused entirely on pinpoint control, hitting the outside edges of the strike zone where batters struggled. The slow curveball came later. Once I turned pro, I mastered the art of keeping hitters off-balance by constantly disrupting their timing.

■Making it to the Pros

When I was 18, I had zero confidence that I could make it in the professional leagues. I had never played in the prestigious Koshien tournament and came from a relatively low-profile baseball region in Hokkaido. At the time, very few players successfully made the jump straight from high school to the pros, so I initially turned down the draft offer.

■Seizing the Opportunity

After joining the minors, I got a sudden call-up to start a game because the team ran out of pitchers. The coach told me to just give it my best for two or three innings before they replaced me. I ended up throwing three scoreless innings, then kept going all the way through the ninth for a complete-game shutout. That single game secured my spot in the rotation and fast-tracked me to the majors.

■Avoiding Injury

During my rookie year, the brutal pro training regimen left me constantly injured. I quickly realized that overtraining was unsustainable, so I learned to listen to my body and rest when needed. By my second year, I could accurately gauge my limits and adjust my training volume to stay healthy.

■Learning Through Imitation

I spent my early days watching the veteran pitchers, trying to copy their mechanics and mental approaches. I focused entirely on my day-to-day progress. By focusing on taking things one step at a time, I looked up one day and realized I had become a mainstay of the first-string team.

■The Global Stage

When I traveled to the Seattle Mariners with Ichiro, I was asked if I wanted to try playing in Major League Baseball. However, playing abroad had never been a goal of mine. More importantly, the official MLB baseballs had slippery leather, meaning my signature curveball wouldn't break at all. While I was honored by the interest, the equipment just didn't suit my style. Looking back, though, maybe I should have given it a shot.

■A Message for You

Today’s young generation is incredibly talented. Be confident and don't hesitate to venture abroad. You live in an era where you can freely express your opinions and where making a mistake isn't the end of the world. Always look forward, and when you're stuck, don't be afraid to listen to advice. It’s a fantastic time to be alive. Good luck!

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Book Review: "I Started M-1" by Mr.Ryoichi Tani

◆Book Review: "I Started M-1" by Mr.Ryoichi Tani

Though Mr.Ryoichi Tani’s book was published last year, I wanted to share my review of it again.

It’s that time of year again for the M-1 Grand Prix—the ultimate stand-up comedy (manzai) competition. This year, an astonishing 8,540 duos entered, all vying for a spot in the finals on Christmas Eve. The grueling knockout process spans from August through the semi-finals until only 10 duos remain to compete for the championship. Launched in 2001, this marks the 19th tournament (following a four-year hiatus). It is a spectacular cultural invention of 21st-century Japan.

This book is a documentary chronicle of how M-1 was built from scratch by Tani, a former director at Yoshimoto Kogyo. I am incredibly jealous that he got to be a part of such a project. M-1 isn't just a TV show or a yearly event; it is cultural infrastructure. It turned manzai into a cutting-edge art form and created a pinnacle platform for aspiring young comedians nationwide.

What began 22 years ago as a single project has evolved into a historic cultural phenomenon. At the time, manzai was widely considered a dead medium, with the previous boom having fizzled out in just a few years. Yet today, "M-1" is a household name, and comedians dominate Japanese television. It is a monumental achievement by everyone involved.

Manzai is a remarkably primitive form of entertainment: just two people, a single vintage Type-38 microphone, and an original script. Yet, it can make millions of people roar with laughter. While stand-up and sketch comedy exist in the West and China, Japan has refined the two-person dialogue into a highly sophisticated, lightning-fast art form.

M-1 gives comedy duos just four minutes to showcase their meticulously crafted routines. Most of the 8,540 competing groups (who must be within their first 15 years of formation) struggle to make a living, grinding away at part-time jobs. But winning—or even just making the finals—changes their lives overnight. It is a stoic, high-stakes battlefield.

In the past, young creative geniuses poured their souls into writing novels, staging plays, filming indie movies, or screaming over guitars. Today, that top tier of raw creative talent is flocking to manzai. You don't need instruments, cameras, or computers. All you need is a microphone and two bodies to move an audience. It’s incredibly cool.

Comedians used to be viewed as the underclass of show business, but M-1 elevated them to cultural icons. Those who were once laughed at are now admired. Many were troubled kids with nowhere else to fit in—though recently, we are seeing a massive influx of highly educated competitors as well. Background, lineage, and IQ don't matter on the M-1 stage; the only metric is whether you are funny.

The book also serves as a masterclass in project management. This isn’t the clean, intellectual theory you learn in business school; it’s a gritty, real-world story of how pure legwork, sweat, and relentless persuasion get things done. On the cover, legendary comedian Shinsuke Shimada notes: "M-1 is a treasure that Tani and I built together... Tani took my rough proposal and brought it to life entirely on his own."

They started by interviewing comedians one by one, clashing with TV executives, pitching to sponsors, and even appealing to local shopping districts when funding was tight. They simply refused to give up. Twenty years later, it is a magnificent cultural monument. It’s a classic sign of a successful project when old detractors step forward today to claim credit for its success.

As a massive comedy fan, I go to live shows constantly and have been lucky enough to secure finals tickets through my work with Yoshimoto. This book beautifully captures the backstage tension. I’ve personally wept seeing top-tier artists pacing the corridors of TV Asahi, frantically practicing their lines against a wall right before going live. I have the utmost respect for these performers as artists, and for the visionaries who built this stage for them.

The book highlights the raw, edgy atmosphere of the very first tournament—something television broadcasts can never fully capture. A pivotal moment occurred when Shinsuke Shimada broke agency rivalries to praise the duo American Crayfish (from Shochiku Geino), establishing M-1 as a fair, merit-based battlefield.

Every champion—from the Nakagawa Family to Football Hour, Black Mayonnaise, Tutorial, and Chidori—has a unique story. They chose this battlefield and shaped the entertainment landscape for the next two decades.

Ultimately, this book is a first-class treatise on manzai. Tani traces the evolution of the craft, naming historic reformers like Entatsu & Achako all the way down to Downtown and Warai Meshi. Today’s comedians don't rely on broadcast writers; they are singer-songwriters of comedy who rise purely on their own material. This keeps the medium evolving, preventing it from becoming a rigid, formulaic classic art like rakugo.

Yet, Tani notes a heartwarming truth: comedy isn't truly funny unless the duo genuinely likes each other, which explains the unique strength of real-life brothers like the Nakagawa Family.

I want modern students to study manzai to build real-world communication skills, especially in our hyper-digital era. That’s why, as chairman of the Kyoto International Film Festival, I host the "President's Recommended Stand-up Comedy" showcase for students. We’ve featured incredible, avant-garde lineups like Dr. Heinrich, Kinzoku Bat, and Tensai Pianist. I want to keep doing this every year.

What about me? I still have plenty to learn. My next bucket-list goal is to actually enter M-1 and make it past the first round. I might just have to ask Mr. Tani to coach me.

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Cool Japan: Extreme Modifications

Cool Japan: Extreme Modifications

This episode of NHK's Cool Japan focused on "Extreme Modifications" (Makaizo).

The term originally comes from the world of plastic scale models, but it represents an explosion of creativity where people take an existing object, alter it drastically to create something entirely new, and add value that surpasses the original. This trend is taking off across various fields, and extreme modification videos are going viral overseas.

■Cooking

Anime and games originally came from abroad, but Japan heavily modified them, transformed them into unique cultural expressions, and re-exported them. This is a classic example of "Cool Japan," and the same logic applies to food.

Western food, localized Chinese dishes, and Japanese curry are all, in a sense, extreme modifications. This thrives in Japan because of the sheer abundance of culinary variety (Japanese, Western, Chinese) and an open-minded market that eagerly embraces and commercializes new ideas. Most importantly, even after a radical transformation, the food still tastes amazing. The current trend of extreme food modification is driven by a pure pursuit of new culinary experiences.

■Mini 4WD Models

Over 180 million Mini 4WD cars have been sold since their debut in the 1980s—that's more than one car per person in Japan. I used to do plenty of extreme modifications on these with my sons. It beautifully combines the mechanical joy of tuning for speed with the artistic outlet of creating a sleek, cool design.

Like model railroading, it's a world loved by children and adults alike. Japan has a very loose cultural boundary between childhood and adulthood; adults openly enjoy manga and video games, creating a massive market for high-end toys. This shared passion for modifying mechanics together feels uniquely Japanese.

■Creepy-Cute (Kimo-Kawaii)

The concept of blending a negative emotion ("creepy") with a positive one ("cute") into a single aesthetic is rare globally. When pushed to the extreme through modification, it often takes on a humanoid form. Because Japan doesn't have rigid religious constraints regarding the creation of living things, it provides the perfect cultural incubator for this kind of radical expression.

■A Culture Built on Destruction

The Shikinen Sengu ritual at Ise Grand Shrine involves completely dismantling and rebuilding the shrine structures every 20 years. This tradition has been repeated for 1,300 years. It convinces me that the cycle of "destroying to rebuild" is fundamental to Japanese culture.

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iU President Gachon:Mr.Nelson Yamaguchi

◆iU President Gachon:Mr.Nelson Yamaguchi

Born in Malaysia, Mr.Nelson Yamaguchi grew up in poverty before coming to Japan. After studying at Hokkaido University and Osaka University, he became an obstetrician and gynecologist. Today, he runs his own clinic.

His is truly an extraordinary story.

■Childhood Dream

"I grew up in a very poor family. My parents never had the opportunity to receive an education, and they couldn't even read or write. They had no choice but to work in physically demanding jobs

As a child, my dream was simply to graduate from high school. I also wanted to become an office worker. Watching my parents struggle made me realize how difficult life can be without an education."

■Why Japan?

"I came to Japan when I was eighteen.

As a child, I constantly saw unfamiliar words around me—Suzuki, Honda, Toyota, Toshiba. They weren't written in English, Chinese, or Malay. Curious, I asked my teacher what language they were.

'Japanese,' my teacher replied.

I was amazed that products from Japan were found all over the world. I imagined Japan to be a huge and wealthy country.

Later, when I looked at a map in junior high school, I was surprised to discover that Japan was actually a small island nation. I couldn't understand how such a small country had become one of the world's leading exporters. That question sparked my fascination with Japan.

Then I watched the television drama Oshin. I was deeply moved. I had never imagined Japan had once gone through such severe poverty. That only strengthened my admiration for the country.

After World War II, Japan was impoverished. Around the same time, Malaysia was still a British colony, enjoying access to Western technology and culture, while our abundant natural resources made us wealthier than Japan.

Yet within only thirty or forty years, Japan had overtaken Malaysia.

I found that incredible.

I wanted to become like the Japanese."

■Pursuing Medicine

"At first, I gave up on the idea of becoming a doctor.

I was attending Japanese language school while working part-time, and medical school seemed completely out of reach.

Still, I was fascinated by medicine, so I entered pharmacy school and became a licensed pharmacist.

But eventually I asked myself, 'Can I really abandon my dream of becoming a doctor?'

The regret grew stronger.

I knew that if I didn't challenge myself, I would regret it for the rest of my life.

So I applied to medical school.

Today, I practice obstetrics and gynecology in Osaka.

Originally, I thought becoming a doctor would simply be impossible. In Malaysia, studying medicine almost always required going abroad, something my family could never afford. That's why I had settled for the more realistic goal of becoming an office worker."

■Why I'm Glad I Came to Japan

"Obstetrics is an extremely demanding profession, but its challenges are often misunderstood.

I was particularly frustrated by the media's use of the phrase 'ambulances being turned away,' which unfairly suggested that hospitals simply refused patients.

To raise awareness, I even ran for the House of Councillors in Osaka. During my campaign speeches, I spoke passionately about the realities of emergency medical care.

Although I lost the election, my message reached the media.

Eventually, many news organizations stopped using the misleading phrase 'ambulances being turned away' and instead described the situation more accurately as 'hospitals unable to accept emergency patients.'

Something else remarkable happened.

One person who heard my speech was so inspired that they encouraged me to open my own clinic, offering me a location and financial support.

Japan is a country where, if you devote yourself wholeheartedly, your dreams really can come true.

That's why I named my clinic Kisaki Clinic—a place where hope can blossom."

■A Speech That Changed Someone's Life

"After one of my speeches, a man in his thirties came up and asked to shake my hand.

He told me that he had been living an ordinary salaryman's life without any dreams or ambitions.

Hearing how I had come to Japan without money, unable to speak Japanese, yet still managed to become a doctor and build my own clinic made him realize that he couldn't keep making excuses.

Those words meant a great deal to me."

■A Message to Students

"Have the courage to take risks.

Fail often.

Experience setbacks.

Japan is a materially wealthy country, and because life is comfortable, many people become afraid of failure. As a result, they never take the first step.

Failure is painful.

But failure becomes the foundation for your next stage of growth.

Without failure or setbacks, there is no change.

And without change, there is no growth."

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