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This Week in Anime
Manga, Translation, and the Rise of Machines
by Lucas DeRuyter & Coop Bicknell,
Lucas and Coop discuss the insidious rise of AI in the translation space.
Disclaimer:The views and opinions expressed by the participants in this chatlog are not the views of Anime News Network. Spoiler Warning for discussion of the series ahead.
Coop
Lucas, we are no strangers to the occasional stories of AI and machine translation popping up in anime and manga localization. Most of the time, we'll see talk of it in copy covered from head to toe with language about "the power of AI" and the supposed creativity that is "unleashed" through its use. And you, dear reader, have probably seen this same language creeping into every aspect of your lives. However, we need to take a closer look at how AI is impacting the livelihoods of those who make it possible for you to understand your favorite series in your native language. Just recently, AI localization house Kodansha USA available on their service. With Orange Inc.'s history and the corporate disposition to abuse this technology, there are many understandable concerns to examine here.
Lucas
That's right, Coop! A portion of the paycheck you and I receive for doing this column will come from funds ANN earned by running a paid article promoting Orange Inc. and their manga reader platform, emaqi.
This opens a wealth of compelling questions relating to journalistic integrity, the tension between individual business and industry sustainability, and the future of both anime and manga and its journalism. First and foremost, what is AI translation? For the life of me, it seems indistinguishable from machine translation, and I, for one, am sick of "AI" being used as a buzzword for "things a computer can do!"
True, "AI" has become a catch-all for tools that can seemingly streamline or assist in a certain process. A perfect example from the video games world is Speedtree—a piece of modeling software that, to my knowledge (and from listening to Jeff Gerstmann talk about it), can reduce the burden of generating vegetation for a game world. From there, human artists can come in and fine-tune the final results to their needs.
To your point on AI technologies being a tool rather than a replacement for creative talents, Orange seemingly its as much in a Deb Aoki.
Aoki makes some salient points about machine-translated series not being of professional caliber, with Orange's VP of Product, Head of International, Rei Kuroda, not rebuffing that .
To Allen's point about editors and translators not taking gigs that focus on AI translation, I feel where she's coming from! For my day job, I've had to spin up copy based on text translated by platforms like DeepL, and that's not fun! Machine translations are often super clunky when it comes to prose or text with any level of nuance, and uncovering the meaning and details in the translation is usually more time-consuming than actually writing an English approximation of the document.
I'm on the same wavelength, Lucas. When I'm not writing this column or working on a bit of Blu-ray box copy, I've been editing light novels and performing quality assurance for Kadokawa company). From my experience, the art of great localization is a translator and editor working together in sync to ensure the spirit of the original text is faithfully conveyed to readers. But along the way, you have wonderful QA folks coming in to make sure there isn't anything you missed or double-check a line that might sound off. Adding a machine translation to that mix only gums up the works, because there's no person to have a back-and-forth with to make the product better.
I believe that even if we're not always working with Shakespeare, every work deserves the proper level of care. Even if I'm not crazy about a certain work, it could be someone's absolute favorite thing ever. Also, that "gumming up of the works" is only the best-case scenario. If a company can save a buck to get a product out cheap and fast, regardless of the care required, it's a decision that can frustratingly make sense in the spreadsheets. Particularly to the solely numbers-minded.
I can see why profit-minded CEOs (many are detached from the actual labor that happens at a company) have flocked to AI technology over the past few years, as it promises to increase outputs without increasing (or maybe even decreasing) labor costs. However, even if that workflow innovation was possible at scale, it only works if a company has a consumer base that doesn't care if the end product is good or not.
One of the few strengths official releases of manga have over their pirated counterparts is an almost guaranteed high-quality translation. I would never advocate for manga fans to read scanlations when there's an official release of a series available. Still, people aren't going to pay money for an official release if it's in any way worse than a freely available version. That's just common sense, or at least it is to me!
I agree with you, Lucas. Why put your money down on a product when you discover that it's not up to the standard you expect as a consumer? I apologize for sounding like John Business here, readers, but that's just the reality of this conversation.
According to our fellow columnist, Chris Farris, Titan seemingly hadn't given the series another when he cross-referenced his digital review copies with the final product on shelves.
However, as Chris posits in his reviews, that "machine translation or bad product" question comes into play again. Even if the awkward translation is just that, when the seed of "Was this AI?" is planted into a potential customer's brain, it's hard to root it out. Looking at Titan specifically, that tree has already started sprouting in my mind. For instance, I'm excited to check out Ryoichiro Kezuka's Record Journey when it hits bookshelves next year. But seeing Titan's name attached makes me weary due to the Kuuga situation.
I don't love the emerging trend of "bad writing = AI." Both because issues in manga localization have existed before companies using machine translations as a shortcut, and because machines can mess up a manga outside of sub-standard translations! when Manga UP! app and it went way overboard?
That bot is a next-level perv if they're getting hot and bothered by the presence of a modest tank top and jeans. I'd say "good for you" if it were an actual person, but it's not great when this then goes flying right into the exhausting censorship conversation again.
With how much porn there is on the internet for LLMs to scrape, you'd think our supposed AI overlords would be a bit more sexually liberated!
And, on the other end of the spectrum, people have been finding ways to flub up manga translations long before AI was a thing! The Viz translation of One Piece is pretty solid in the grand scheme of things, but I can feel my eyebrow twitch every time Zoro is called "Zolo" because of a translation error and/or choice made 30 years ago! I understand the need for consistency, but when everyone agrees this translation is wrong, it's dumbfounding that it continues to endure in the official English release.
I understand that frustration, but in the world of print (and most media, really), consistency is the name of the game. Fingers crossed that one day a future edition of One Piece will correct that, but I don't think that'll come until the series is finished, and if VIZ or Shueisha wants to pay to have that updated.
To the eyes of most, the VIZ and Kodansha titles being brought to emaqi are already finished products simply being licensed for a new sales platform. But again, given Orange Inc.'s history, that raises questions regarding their new partners' thoughts on the use of the company's technology.
The aforementioned advertorial features a trio of Kodansha titles with the human touch this work requires. I can't say the same for the rest.
As you said, Lucas, it goes without saying that a bit of promotion raises questions about surrounding editorial integrity. Especially considering that we're pushing back against what ANN promoted. To quote a public statement from our Executive Editor, "The editorial and news department are not involved in, nor do we have any say in advertising decisions. None of us knew this was happening until it was published." I trust her on this, but as a reader, you can see my bias as a regular columnist. However, I also understand if that ad makes you start asking reasonable questions. And those are on the basis that most people see ANN as just ANN, not for the separate departments that operate independently from each other. I can speak for myself, in that if something seems like a conflict of interest on my end, I'll let you know. To echo our editor once more, the best way to show your concern is to RESPECTFULLY voice your thoughts in the comments.
As far as discourse surrounding whether or not it was appropriate for ANN to run a paid article for Orange/emaqi goes, I understand why folks are upset, but I'd like to remind them that publications have to keep the lights on one way or another. Print or on-site ments have been around since the dawn of modern journalism, and clearly labeled promotional articles are also a well-established means for journalistic outlets to earn money.
More broadly, people in the AI space are seemingly some of the only people with money to burn right now, and I can't hold too much contempt for any parties that rub elbows with that space right now if the alternative is fiscal belt-tightening. Is that perfectly ethical? No, but we don't live in a wholly ethical world, and by all s, the AI bubble is on the precipice of bursting anyway.
True, it's hard to navigate certain aspects of this conversation without going directly to black-and-white thinking. As someone who has written a handful of advertorial articles in the past, I have a small inkling of how that specific area of writing works. However, going back to the larger convo, I'd prefer it if the AI bubble doesn't grow big enough to take a ton of industries (including our own) down along with it.
But the AI industry is really weird in that way, right? There isn't all that much work that couldn't be done without the technology, and yet nearly every company that is able to has integrated it into their workflow or products in some capacity because a handful of influential folks say it's the future. The economy didn't collapse when blockchain technology fizzled or when NFTs moved out of the limelight, and I'm feeling pretty confident that AI's inevitable bust won't bring much down with it, either.
Through that lens, I see what you mean. But I also think of the generation of potential writers and creatives that have been driven to illiteracy due to the use of these models in the classroom and higher education. The effects will most likely leave a long-lasting scar. It's not specific to our industry in those regards, but one day, it could be. It's a related conversation for another time, but also demonstrates how quickly the AI conversation can spiral to more worrying places.
People have always found ways to cut corners, but as long as there are people out there who care about craft and improving their chosen skillset, I don't think we have too much to worry about. As that applies to manga, I think it's fair to say that people care about localizations being good now more than ever! Hell, the first-ever American Manga Awards last year proves that, and it's set to return to Anime NYC this year!
People have been trying for decades to make a quick buck off of the broader anime community without putting in the work to understand this space, and now AI is a tool that can help them do that. However, the anime community is pretty inoculated to these grifts, and I'm not too worried about this fad doing lasting damage to this space.
The work of any dedicated, ionate, and well-compensated professional will outlive any fad—from digital monopoly money to ugly MS Paint art of a monkey with a backwards cap.
Amen! Great manga was around long before the tech sector had far too much of an impact on our day-to-day lives, and I'm sure I'll be able to read great manga after that space regresses to the mean.
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