Otakon 2024: Anime in the Philippines

• Author: Samantha Ferreira

• Editor: Samantha Ferreira

• Host: Mich Chan

Introduction

To argue that the Philippines is an important part of the fabric of our greater collective anime history would be an understatement. Throughout the past half-century, anime works like Voltes V have become a part of the nation’s popular culture, while studios like Toei have set up satellite companies within the country to help produce the iconic works of the modern era. Indeed, to ignore anime's influence on the Philippines, and vice versa, would be tantamount to negligence.

On August 2, panelist Mich Chan took the stage to deliver a crash course on anime’s impact on the Philippines in a late-night panel. The half-capacity crowd was animated and excited, as Chan opened the event with the opening credits to Voltes V. As the song’s final notes played, she leaned into the mic and stated, "If you believe that the Marcos Sr. presidency formed the Philippine golden age, this is not the panel for you." A wave of cheers erupted through the room in response.

Let’s Volt In!

Chan would explain the Marcos regime’s atrocities later in the panel. At the moment, though, giant robots were on the agenda. Specifically, it was time to talk about Voltes V. She noted that she had to open with the iconic super robot show because “it’s too important to not discuss it first.” 

It’s here that Chan began to display her strengths as a panelist, tackling each topic with a seemingly limitless collection of reputable sources and statistics, strong visual aids, and a playful sense of humor. She queued up a clip from a program that aired on the Japanese television network Mezamashi TV, in which the host interviewed people in the Philippines about Toei and Sunrise’s beloved giant robot series. Throughout the three-minute clip, every person interviewed knew of Voltes V, with several being able to sing the show’s theme song when asked. She added that, in a TV Asahi survey, Voltes V no Uta was the most famous anime song outside of Japan, ahead of works like YOASOBI’s Idol and Cruel Angel’s Thesis.

Chan used this point to take viewers back to 1978, when importer Larry Chan founded Telesuccess Productions. At the time, TV was a core part of the Filipino entertainment landscape and had made staples of Western cartoons, telenovelas, and tokusatsu shows, among other entertainment media. The GMA Network operated on a block programming format, which Telesuccess took advantage of by providing a five-day arrangement of super robot anime, a la Force Five. For example, Mechander Robo ran on Mondays, Daimos on Tuesdays, and Voltes V on Fridays.

Chan paused again, to express just how important Voltes V had become to the cultural landscape. She queued up a clip, joking that anyone who had seen Dave Merrill’s Anime Hell events should recognize it. And, indeed, it was hard to mistake the CDO Corned Beef commercial, which saw a family come together at the dinner table through what can only be described as a mecha launching scene, as the opening bars to Voltes V no Uta played.

The Revolution Will Be Televised

Voltes V would become a particular flashpoint for dictator Ferdinand Marcos, who banned mecha anime on August 27, 1979, just four episodes from its finale’s scheduled air date. At the time, Marcos cited the series’ violence as a major reason. Despite the proclamation, many speculated that it was to prevent people from getting ideas from the series, which saw the humans defeating the violent intergalactic tyrants of the Boazanian Empire.

Chan continued to highlight the aftermath of the ban, and its impact on the popular culture and artwork of the era, while building up the events leading to the assassination of anti-Marcos senator Ninoy Aquino in 1983, which sparked a chain of events leading to the People Power Revolution. Marcos and his family were overthrown and exiled to Hawaii, as democracy took hold once more.

As she covered the section, Chan kept relevant figures at the forefront, discussing the work being done by Larry Chan and GMA, and highlighting interesting bits of anime history, such as the lost English dub of Candy Candy that Telesuccess produced for the country. 

Into the Present

The final segment of the panel saw Chan entering the modern era. A few noises of surprise arose from the audience as she discussed Toei Animation Philippines (TAP): a subsidiary of Toei Animation that was founded in 1992 and, according to Chan, produces up to 70% of the company’s overall animation. Throughout its thirty-two-year history, TAP has worked on hundreds of titles, including Dragon Ball Z, Precure, and One Piece.

She discussed the importance of the World Masterpiece Theater, which has seen several stories find their way into the greater fabric of popular culture within the Philippines, and numerous dubs of shows like Dragon Ball and Sailor Moon that were produced exclusively for the country. She highlighted the launch of TV network Animax, and Crunchyroll’s 2022 entry into the market, before closing off the panel with a brief discussion of 2023’s Voltes V: Legacy.

Indeed, the panel had ended just as it began: with cheers, excitement, and Voltes V. As the audience shuffled out into the halls of the Walter E. Washington Convention Center, it was hard to deny that fans were excited for what awaited over the rest of the weekend.

Closing Comments

Of the dozen panels this reporter attended over the weekend, Anime In The Philippines was undoubtedly the best of the bunch. Chan was immensely knowledgeable about the topic and quick to back her points up with reliable sources and examples. Her delivery was strong, with a wry sense of humor that helped to keep a breezy tone when discussing even the heaviest topics. At the same time, her video clips and visual aids were both exemplary, being relevant and entertaining in equal measure, while helping to elevate the overall subject matter.