Sony, infamous for stifling Japanese developers with draconian censorship policies and recently losing over $200 million funding the ill-fated development of Concord. Despite these setbacks, the company continues to tighten its grip on global entertainment, wielding near-monopolistic control over the Western distribution of Japanese anime through subsidiaries like Crunchyroll and Aniplex.
Now, according to a report from Reuters, Sony is in talks to acquire Kadokawa Corporation, one of Japan’s largest media conglomerates.
The deal, which could materialize in just a few weeks, would mark a significant power play for Sony. The company already holds a 2% stake in Kadokawa and a 14% stake in FromSoftware, a renowned game developer under Kadokawa’s umbrella.
Kadokawa itself is a juggernaut in Japan’s entertainment sector, dominating novel serialization and owning key subsidiaries like Dwango Co. Ltd., the parent company of the popular media site Niconico. It also controls prominent game developers like Acquire, Spike Chunsoft among other entities like Enterbrain, ASCII Media Works, and Gotcha Gotcha Games the creators of the RPG Maker software, which empowers aspiring creators to craft their own 2D RPGs.
If this acquisition goes through, Sony would expand its influence across Japan’s media and gaming industries, raising questions about the future of independent creativity under such corporate consolidation.
This acquisition could see a vast library of Japanese anime, manga, and light novels absorbed into Sony’s portfolio. If the deal proceeds, it would represent a massive boon for Sony, granting them not only a majority stake in FromSoftware, the trailblazers of the “Souls” genre but also control over their groundbreaking titles. FromSoftware has a storied history with Sony, having developed Demon’s Souls and Bloodborne exclusively for PlayStation.
Their other masterpieces, including the iconic Dark Souls series and the critically acclaimed Elden Ring, would further bolster Sony’s gaming empire.
The potential merger underscores Sony’s relentless pursuit of dominance across entertainment sectors, from gaming to anime, leaving little room for competition or independent growth.
Sony’s ambitions to dominate the anime and manga industries are glaringly evident, with Kadokawa Corporation squarely in their sights. Kadokawa itself holds a treasure trove of renowned literary IPs through subsidiaries like ASCII Media Works, Kadokawa Shoten, Enterbrain, and Media Factory.
Additionally, Kadokawa wields substantial influence in anime production, owning Studio ENGI a joint venture behind adaptations such as Uzaki-chan Wants to Hang Out! and Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs. They also recently acquired Doga Kobo, the studio responsible for hits like Oshi no Ko, Plastic Memories, and New Game!.
Kadokawa’s reach extends further with ventures like Studio KADAN, launched in 2021 to focus on 3DCG animation, and a 31.8% stake in Kinema Citrus, the studio behind acclaimed series like Made in Abyss, Barakamon, Is the Order a Rabbit?, and The Rising of the Shield Hero. With such vast control over Japan’s entertainment landscape, Kadokawa effectively operates as a monopoly and Sony stands poised to capitalize.
Already a titan in Western anime licensing through Crunchyroll and Aniplex, Sony dominates the global distribution pipeline. Aniplex itself, a subsidiary of Sony Music Entertainment Japan, spearheads production, licensing, and merchandise for blockbuster franchises like Demon Slayer, Blue Exorcist, and Kaguya-sama: Love is War. Sony’s ownership of studios such as A-1 Pictures and CloverWorks through Aniplex further consolidates their grip on the industry.
Should Sony acquire Kadokawa, it would grant them near-total control over many of Japan’s most cherished novel, manga, and anime properties—a prospect that could prove catastrophic for fans hoping for diverse and independent creative voices.
Sony’s track record offers little reassurance. Since relocating Sony Interactive Entertainment (the PlayStation division) in 2016–2017, the company has enforced globalist standards that have disproportionately scrutinized Japanese developers.
This shift, despite their pivotal role in salvaging the PlayStation 3’s rocky early years with standout exclusives, has marginalized Japan’s unique creative contributions in favor of homogenized, censored content. If Sony secures Kadokawa, it could mark the next step in their monopolistic march, further eroding the soul of Japan’s beloved entertainment industries.
Sony has relentlessly pressured Japanese developers to impose censorship, particularly targeting games featuring attractive anime characters and fanservice elements. This heavy-handed approach led to the downfall of Marvelous’ once-thriving Senran Kagura franchise, a casualty of Sony’s unwavering commitment to sanitized, globally palatable commercialization.
This blatant prejudice against fanservice-driven content has sparked a significant exodus of developers from the PlayStation ecosystem. Many studios have opted to launch exclusively on rival platforms like the Nintendo Switch, drawn by Nintendo’s comparatively lenient stance on such content. As a result, Sony’s rigid policies have not only alienated a loyal fanbase but also driven creative talent toward competitors, further weakening the diversity of offerings on the PlayStation platform in favor of homogeneous progressive slop.
Sony conveniently owns both Funimation and Crunchyroll, two notorious localization entities responsible for licensing Japanese anime for global distribution.
These companies have gained infamy for their poor-quality English dubbing and altered scripts, which frequently stray from the original content. Censorship, Western slang, and activist-driven terminology are often injected into translations, undermining the authenticity of the original work. Crunchyroll has recently drawn additional criticism for removing user comments from reviews, a move interpreted as stifling community feedback. The platform has also faced accusations of mail fraud from an English voice actor, further tarnishing its reputation.
Sony’s ambitions to “globalize” anime took center stage with their announcement of “anime academies,” initiatives designed to cultivate anime creators in “global markets.” Ostensibly aimed at enhancing creativity, these efforts signal Sony’s intent to shift anime production outside of Japan.
However, such attempts to produce “anime” abroad often result in works that mock the medium, laden with activist agendas that alienate traditional anime audiences. This parallels the decline of Western cartoons and comic books, industries similarly overrun by ideological crusades.
Ironically, Japanese anime’s growing popularity in the West is fueled by a rejection of these very trends. As Western media continues to succumb to homogenized, agenda-driven storytelling, Japanese animation stands out for its creativity, authenticity, and willingness to cater to diverse tastes, a stark contrast to the “globo-homoization” engulfing Western-centric entertainment.
Sony’s meddling threatens to erode this distinction, raising concerns about the future of anime under their corporate control.
The globalization of anime has become a source of frustration for long-time fans who fell in love with the genre decades ago. While Sony often takes the brunt of the criticism, Kadokawa is far from innocent, sharing many of the same globalist ideals.
Japan’s anime industry is thriving, with approximately 20% of its annual revenue now coming from overseas markets, thanks to licensing, dubbing, and production funding by companies like Crunchyroll and Netflix. However, this global boom comes at a cultural cost. Nudity and fanservice, a cornerstone of certain genres are fading into obscurity, as “ecchi” series face declining greenlights for production. Fans of High School DxD have been clamoring for a fifth season for years, yet their hopes remain unfulfilled, leaving them disappointed especially after the lackluster quality of the fourth season.
The influx of newer Western audiences, largely introduced to anime through platforms like Netflix and Crunchyroll, has fostered animosity among longtime fans. These casual viewers often revere mainstream battle shounen series like Dragon Ball, One Piece, Jujutsu Kaisen, Naruto, and Bleach, while scorning the more niche or risqué elements all while they fixate upon subverting established characters as trans, non-binary or homosexual with delusional headcanons.
They frequently conflate fiction with reality, labeling Japan’s iconic “lolicon” trope as pedophilic and vilifying fanservice as the “objectification” of women. Such attitudes have put pressure on global companies like Kadokawa to conform to Western ESG-driven standards of diversity, inclusivity, and especially censorship.
Kadokawa has embraced these globalist values, prioritizing sanitized content and toning down anything deemed offensive or problematic. The company even attempted to impose censorship on manga containing nudity, but their efforts were met with fierce backlash from native Japanese consumers. The uproar forced Kadokawa to retract the policy, with their CEO issuing a hollow apology and taking a self-imposed pay cut.
Despite the temporary reprieve, the looming threat of cultural erosion remains as corporations like Kadokawa and Sony continue their march toward homogenizing anime for the global market. This trend risks diluting what makes Japanese media truly unique, leaving longtime fans yearning for a return to the unapologetic creativity that defined the medium’s golden years.
Kadokawa recently faced backlash for its decision to cancel the Japanese publication of Abigail Shrier’s book, Irreversible Damage: The Transgender Craze Seducing Our Daughters. The book, which critiques the rising prevalence of gender dysphoria and suggests that social media influences young women to transition, was slated for release in Japan under Kadokawa’s imprint. However, the announcement quickly drew criticism from activists, who labeled the book as “transphobic” for daring to scrutinize prevailing narratives around gender identity.
In response to mounting pressure and a planned protest outside Kadokawa’s headquarters by transgender activist groups, the company preemptively canceled the publication. The move underscored Kadokawa’s sensitivity to public backlash, but also sparked debates over freedom of expression and the influence of activism on creative and academic discourse in Japan.
When examining the current state of Japanese animation, Kadokawa’s adaptations have largely adhered to safe, sanitized standards, avoiding themes that could be considered controversial, such as the sexualization of “minors” or lolicon characters.
Over the years, many ecchi adaptations have undergone significant alterations from their original manga or light novel sources, often toning down the raunchier aspects to conform to modern sensibilities.
Exactly what purpose is there to radically altering an adaptation of an ecchi series, a genre which more or less signifies erotic material for audiences outside of adults anyway?
A prime example of this shift under Kadokawa’s umbrella was the long-anticipated third season of Re:Zero which centers around the novel’s fifth arc. This arc introduces new characters, including Liliana and Capella, both of whom play key roles in the story.
However, both characters are portrayed as “lolis” with revealing outfits, especially Capella, who is depicted as the Sin Archbishop of Lust a role that calls for a sensual and seductive design. In the original work, her character design was provocative and intentionally revealing, but in the adaptation, the designs were significantly toned down to be less revealing.
Bottom: Capella
This change was made to avoid scrutiny from modern “fans” who struggle to differentiate between fiction and reality, pushing Kadokawa to comply with global standards that prioritize censorship and politically correct portrayals.
For fans seeking authenticity and fidelity to the source material, this alteration is a clear example of how modern pressures are shaping anime adaptations, sacrificing creative intent for the sake of conforming to increasingly vocal, globalized audiences.
Defenders of these changes, like Re:Zero’s character designer Haruka Sagawa, have justified the alterations by claiming they were necessary to appeal to a broader global audience. Sagawa stated on Twitter that the modifications were made to meet the “broadcast codes” of various countries, signaling that Japan is no longer solely focused on producing media for domestic consumption but is now tailoring its content for international markets.
As a result, creative freedom is increasingly constrained by the need to comply with regulations in multiple regions. At the same time, companies like VISA and Mastercard exert pressure on Japanese retailers, demanding the removal of “problematic” material or face losing their vendor licenses. Japan is now being forced to conform to Western standards, eroding its cultural identity.
Sony and Kadokawa are increasingly aligned in their long-term goals, and if an acquisition were to happen, fans of Japanese anime and manga would see the end of their beloved material arrive much sooner. Sony’s global guidelines, which already discriminate against Japanese game developers by censoring fanservice and the portrayal of attractive female characters aimed at heterosexual audiences, would be imposed on Kadokawa’s vast holdings.
As the largest monopoly on Japanese literature, including several game studios and anime production companies, Kadokawa’s assets would be a prime target for Sony’s agenda.
With Sony’s push for censorship and the inclusion of “marginalized” characters in their own games, it’s a safe bet they would push similar changes in anime and manga, resulting in an accelerated decline of the industry.
This would undoubtedly lead to significant financial losses as the content shifts away from what fans of traditional Japanese media know and love. While Japan’s animation industry is already on a precarious path, Sony’s control over Kadokawa would speed up its transformation, resulting in a shift that could be far more politically correct, homogenized, and less recognizable than many ever imagined.
