>>56974786>Wait, why would they have to pay for a song they made for Digimon and own the rights toBecause Japan has a lot more atomized rights holding. Every composer/musician, even the VA's, tend to have their own rights separated out from the actual project, at least partially. I don't know if they're usually still owned by the individuals, rather than a corporation, but you often don't get the rights to things like soundtracks or voice tracks when you license an anime or game. Or at least, you didn't, I imagine the growth of the localized market for both has led to it being easier/more worthwhile to license those rights as well.
For Digimon, though, I think it was not just that, but groups like 4Kids still believing they needed to more heavily localize to get the kids interested. Especially considering how Digimon was the "cooler" Pokemon. Like the Sonic to Pokemon's Mario. I could see them, in that context, feeling it was worth the money to license a bunch of contemporary pop rock tracks. Otherwise, though, Digimon escaped remarkably unscathed, localization-wise. Sure, names got changed, but rarely as whole cloth as they were in something like Pokemon. They still had it take place in Japan with Japanese kids, even kept the "everyone thought it was a terrorist bombing" thing for the backstory. Only thing that really got hit was, I think, them cutting a short a bathing thing and having one pair of Digimon, but only those, sent to the shadow realm.
It's actually been the more recent stuff that's suffered more. They had to censor a bomb digimon into an Orange in Savers, and for some reason Bandai seems to think it'll be a HUGE PROBLEM if there's a sexy nun Digimon. That is, a sexy nun that's wearing a black habit-like dress. So they keep editing her into a blue one (that now exists as its own independent Digimon) and removing her from English art.
