Anime clustering for automatic classification and configuration of demographics

Abstract

The cultural industry assumed greater relevance as a productive system and expanded its market share with different forms of reception, transmission, and communication with the public, increasingly using the so called classification and recommendation algorithms and manipulation of mass processed data, which do not require cyber-physical systems for cataloging andconstant feedback from all parties involved for cataloging. In this regard, this paper proposes a methodology to support the classification and creation of corresponding groups, automatically, of cultural productions of certain segments through Robot Process Automation (RPA) techniques, to first extract public data created by fans of certain cultural segments, and Latent Dirichlet Allocation (LDA), for the clustering of these productions based on the data of the terms extracted by RPA. As a case study for this proposal, we specifically observed the anime market, defined as an originally Japanese cultural product with high fan engagement and high annual production scale, supported by data obtained from two public databases data: MyAnimeList and AniDB, built collaboratively by fans. The application of the methodology allowed the automatic classification of anime, grouping them into topics that allow the proposal of a new demography of products of this genre in relation to the current one, providing a greater level of detail and allowing to contemplate the expansion of new themes.

Otome Games: globalization and glocalization processes, conceptualization and data analysis of Brazilian players

“…This popularization phenomenon can be observed with anime (Japanese animation) in the 1990s, and recently with the expansion of streaming services promoting anime in Brazil, such as Netflix, Amazon Prime, and Crunchyroll, with the later having licensed more than six hundred animation titles (mostly from Japan and China) available to the Brazilian public on their platform. (Urbano & Araujo 2021) (Ferreira et al 2023). In agreement with the scenario observed in the animation and print publication industry, the Japanese game industry was also heavily exported.…”

“…However, in December 2021, Voltage's Tokyo headquarters decided to shut down Voltage Entertainment USA, citing reasons such as a stagnant Otome Game market, decreased productivity, and rising labor costs in San Francisco (Ganzon 2022). It is worth questioning Voltage's claim about the market stagnation, considering the increased consumption of Asian pop culture products, like anime, outside of Japan during the COVID-19 pandemic by popularization of streaming services, converting some of these products like anime largest dependent of global market (Pineda 2021) (Hirasawa & Mihara 2022) (Ferreira et al 2023), including very specific niche markets like Virtual YouTubers (VTubers) (Regis 2021) (Diniz et al 2022a).…”