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According to Maya, anime resonated with Mexican audiences for a number of reasons, including the fact that its stories typically mirrored shared family values between Mexico and Japan they had strong messages of resilience, and the narrative archetypes echoed the format of popular telenovelas. A force within the industry between 19, Maya got her start brokering licensing deals for Saint Seya coloring books, later leading teams at Editorial Toukan and Editorial Mango, where she secured publishing and distribution rights for titles such as Dragon Ball Z, Sailor Moon, Ranma ½, One Piece, Cardcaptor Sakura, Pokémon, Digimon, and even Power Rangers.
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Gaby Maya-aka Gaby Manga-was a trailblazer of manga publication in Mexico, co-founding popular fanzine Animanga in the mid ’90s alongside Adalisa Zarate. Large Japanese diasporas in Peru and Brazil were also quick to embrace anime, as rapidly growing syndication blocks paved the way for Latin America’s golden age of anime and manga in the ‘90s. Shōjo classic Candy Candy (1975-79) was dubbed into unmistakable Argentine Spanish over in Miami, Mazinger Z (1972-73) showcased an international voice cast that reflected the show’s universe-spanning plot and characters. The egalitarian model was soon adopted across the continent, in the process infusing anime with distinctly Latin American texture. This made anime accessible to all, regardless of origin or economic status, and ingrained the art form into the collective consciousness of Mexico‘s youth.
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The shows played daily across pillars of Mexican free-to-air television like Televisa, and later TV Azteca, piping Japanese animation into millions of households, completely free of charge.
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In 1964, Astroboy was the first Japanese animated series to be dubbed and broadcast in Mexico, becoming a fixture of network television and followed in subsequent years by Speed Racer and Captain Tsubasa. And right up until the Covid-19 pandemic sent nightlife into indefinite hiatus, the FrikiPerreo party series was rapidly gaining a cult following in Mexico City’s Zona Rosa district, with a unique blend of Top 40 hits, old school classics, and cosplaying drag queens.Īnime in particular is extremely popular across Latin America, but it has a special significance in Mexico, with a history dating back nearly 60 years. In 2019, Monterrey DJ and producer Nurrydog bookended his own EDC appearance with a reggaetón rework of the Neon Genesis Evangelion theme song, “ Zankoku Na Tenshi No Tēze.” Step into any record store today, and you’re guaranteed to find a fully stocked J-pop aisle, the love for which has also stimulated a growing future funk scene nationwide. Indeed, in recent years, nostalgia, nerdy humor, and innovation have resulted in a new subculture in Mexico’s underground, one that pops up everywhere from electronic music niches to campy queer circles. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track Anime and video games have always been a staple, but now musicians are playing with an element of nostalgia that makes it even more exciting.” “ I usually extract sound files directly from my game library, but even before, when I started DJ-ing perreos, I used to play that ‘Saint Seya’ parody and it was always a hit because of the culture clash of Japan and Mexico. “There is a big otaku culture here,” he adds. I couldn’t believe we were playing such a large stage,” says Cuevas, who began producing at the height of the moombahton explosion of the late ‘00s, going on to collaborate with genre pioneer Dave Nada of Hermanito Label. The duo of Pat Ana Castellanos (aka Sugar Mami) and Cepillo Cuevas are decked out in sparkly makeup and iridescent sportswear, quickly winning over the crowd with their quirky collisions of Nintendo samples and raunchy lyrics about otaku heartbreak and twerking Kirbys, which they’ve lovingly christened “perreo hentai.” Strange as it may have seemed, the performance reflected a number of contemporary hallmarks in Mexican culture from the chart-topping dominance of reggaetón to cutting-edge meme culture and the ubiquitous presence of anime and manga. The surreal sight is immediately followed by dizzyingly pitched-up vocals and the booming kick and high-hat combo of reggaetón, which means Army of Skanks have finally taken over the decks. It’s February of 2020, and the sun is setting on Mexico City’s gargantuan Electric Daisy Carnival, when the screens at the massive Dos Equis stage are suddenly overtaken by bouncing Pikachus and dancing anime school girls.