2024年11月24日日曜日

Start of the CiP Metaverse

■ Start of the CiP Metaverse

The opening greetings from the Metaverse Project launch event are as follows.  

The metaverse and Web3.0 have garnered attention as new policy issues.

The transformation of virtual spaces into parallel worlds has been anticipated since the dawn of the Internet.

Now, 25 years since Ultima Online and 15 years since Second Life, significant movement has accumulated.


Facebook's announcement of its rebranding as Meta in 2021 flipped a switch.

The metaverse has become a field drawing in new technologies such as VR, AR, NFTs, and blockchain.

It also becomes a venue for public functions serving education and tourism, along with entertainment such as gaming and music festivals.

The metaverse is envisioned as becoming a place where economic activities and lifestyles unfold, increasing people's dependence on it.


In no time, numerous policy challenges have surfaced.

These include rules for building metaverse spaces, intellectual property rules on issues such as copyright within those spaces, handling of data and personal information, technological standardization, and even taxation system support measures.

Numerous government ministries and agencies will also be involved.


As the metaverse is a borderless space transcending cities and nations alike, the establishment of rules and methods for conflict resolution will also be key topics.

International discussions on these have already begun.

However, reality here has yet to catch up to concepts, and policy discussions remain unfocused.


In discussions, Japan's first Minister for Digital Transformation Takuya Hirai raised troublesome issues like digital ownership rights, and expressed hopes that Japan would take the lead in finding solutions.

Yoshiko Tsuwaki of Japan's Digital Agency stated that the Agency would play a role in coordinating these issues, while Shigeaki Tanaka of the Intellectual Property Strategy Headquarters spoke about a soft-law approach to resolving issues of rights.


Minister Hirai, who says that building trust will be important, noted that Japan's earnest approach could be surprisingly helpful in eliminating the "fishiness" inherent in Web3.0. This is yet another major task to tackle. 


2024年11月17日日曜日

What the Broadcasting Report Indicates

■ What the Broadcasting Report Indicates


I would like to comment on the report from the Ministry of Internal Affairs and Communications.


Shared use of physical assets: Joint investment by NHK and commercial broadcasters

 In 2006, commercial broadcasters were openly opposed to separation of physical and non-physical aspects. However, Michisada Hirose, chair of the Japan Commercial Broadcasters Association at the time, quietly called me aside and expressed a correct understanding that the change would mean the possibility of joint ownership of regional transmission towers. Concrete planning should be carried out already.


IP and cloud adoption

 In the UK, wired/wireless, broadcast, and telecommunications are transmitted in mixed format by both the BBC and commercial broadcasters, with full IP and cloud adoption atop separation of physical and non-physical aspects. From a cost perspective, this is a natural direction. However, while the UK carries this out through a foreign (Swedish) company, how Japan views broadcasting security is a point at issue.


Replacement of relay stations with IP unicasts

 Under both broadcast regulatory structures and the Copyright Act, structures and business in Japan have been distorted by superficial actions such as whether to apply multicast or unicast to network transmission methods. There is now a prime opportunity for a top-to-bottom rethinking of the relationship between technical methods and regulatory structure application.


Elimination of regional restrictions

 Regional restrictions were regulations set against the backdrop of broadcasting's "strength." With the internet now surpassing broadcasting in advertising revenue, however, and amid onslaught by foreign firms, the position of broadcasting has been relativized, and the purpose of placing constraints on the domestic industry is being reevaluated. A move toward relaxation is appropriate.


The positioning of NHK's Internet utilization operations

 NHK should considered Internet utilization among its core, not supplementary, operations, with the aim of transforming itself into a digital media entity akin to the UK's BBC or China's CCTV.


I have no other objections to the report and look forward to the implementation of policy.


At the same time, I find dissatisfaction with two points: the scant mention of "the world" and "data."

Looking first at "the world," amid upheavals in media overseas as in the US, China, and South Korea, what sort of position and strategy should Japan adopt?

What should Japan do with its idiosyncratic regulatory structure?

Japan's meager awareness here has become an international issue.

Then there is "data."

More so than any division between telecommunications and broadcasting, the utilization or non-utilization of data is the challenge faced today.

Internet media entities commercialize data, while broadcasting does not make use of data.

Television, a decade behind in telecommunications convergence, may lag another ten years in data convergence.

I see no awareness of this issue in the report.

What should be questioned before all is individual companies' strategies. What these past 15 years have taught us is that even if regulatory structures are laid out, holes remain unplugged if management does not take action.

What do individual companies intend to do about this? That's what I want to hear.


2024年11月10日日曜日

Homework in Broadcasting, 15 Years Overdue

■ Homework in Broadcasting, 15 Years Overdue


The Study Group on the Ideal Broadcasting System in the Digital Age of the Ministry of Internal Affairs and Communications (MIC) released a draft report.

The report recommends a revision of regulatory structures to expand options for management, as well as enhancement of flexibility in physical, content-related, and management aspects.

I concur with this. The report was put together well.


1. Study the shared use of physical assets, including joint investment by NHK and commercial broadcasters.

2. Allow IP and cloud adoption as options.

3. Consider IP unicasts as a possible replacement for relay stations.

4. Eliminate regional restrictions for the exclusion of mass media concentration.

5. Enable the assimilation of broadcast programs across multiple regions.

6. Examine the positioning of NHK's Internet utilization operations.


All of these represent unfinished homework from 15 years ago, postponed following their discussion by the Council on the Ideal for Telecommunications and Broadcasting in 2006 under the Koizumi Cabinet's Minister of Internal Affairs and Communications Heizo Takenaka, and its follow-up Study Group on a Comprehensive Legal System for Communications and Broadcasting (in which I participated as a committee member) under the first Abe Cabinet's Minister of Internal Affairs and Communications Yoshihide Suga.


The discussions involved significant alteration of the legal framework for telecommunications and broadcasting to enable separation of physical and non-physical aspects and shared use of the telecommunications and broadcasting spectrum, and deregulation aimed at enabling cross-sector services.

On the point of expanding options for management, this aligns with the current study group.


However, nearly no new services or businesses utilizing the new legal framework have come out of the broadcasting industry, and in 15 years the digital market was scooped up by the Internet.

Simultaneous streaming has been implemented over a decade later in Japan than overseas. Regulatory structure remedies have been put in place, with the Copyright Act finally amended last year in response to calls from industry.


The direction proposed by the study group looks past the convergence of telecommunications and broadcasting and picks up remaining points for discussion to aid broadcasters in overcome increasingly difficult circumstances.

It can be seen as a final trimming on the broadcasting regulatory structure.

2024年11月3日日曜日

Because They Wanted to Introduce Akiko Fuji as a Giant

 2024/11/3

■ Because They Wanted to Introduce Akiko Fuji as a Giant


Shin Ultraman, directed by Shinji Higuchi and supervised by Hideaki Anno, was a masterpiece.

Mr. Anno and I are the same age. Last autumn, I caught up with his doings at an exhibit at The National Art Center Tokyo.

I also once asked Mr. Higuchi, who is four years younger, about his hobbies at a Keio University event.


My attachment to the Ultraman of the 60s is even stronger than to Godzilla of the 50s and Kamen Rider of the 70s.

 

I wanted a Flash Beam. I wanted to wear the Science Special Search Party badge.

Those happy memories are a privilege exclusive to our generation, a paean illuminated by a beam.


I was deeply moved by the movie's inclusion of homages to Ultraman Q.

Gomess, Litra, Peguila, Pagos, Mammoth Flower, Goga.

And Neronga.

I like Neronga.

I want a pet Neronga.


Perhaps the aliens known as Mefilas were given semi-leading roles out of a wish to introduce SSSP Member Akiko Fuji as a giant.

I was reminded of the masterpiece "Giant Member Fuji versus King Ghidorah" by Makoto Aida.

Both Imit-Ultraman and Alien Zarab seemed secondary characters.

Even stars like Alien Baltan and the Kemur Man were intentionally left out,

I got it.


Even a flawless hero can be defeated.

Animosity – and a twisted reverence – toward Zetton. Childhood trauma.

All-out resistance by powerless humans. Childhood hope.

An homage to the impressions left in the hearts of youths, and new iterations.

These were depicted in full.

How far will the younger generation and foreigners go in squarely embracing this?


Neronga, Mephilas, Zetton.

The structure, with its focus on three episodes, also marked a gallant decision to discard the remaining 36 episodes that include Red King, Pigmon, Bullton, Gomora, Dada, and Seabozu.


I spoke with Takayuki Tsukagoshi, the chairman of Tsuburaya Productions, about production of the work.

The movie offered a complete depiction, didn't it.

"No, there's more to come."

Huh?

"We're making more."

Wow.

Hope for tomorrow springs forth.