Forum - View topicNEWS: Funimation Starts Initiative for Co-Producing Anime
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Sailor S
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Then stop setting that damn thing. I hate when the sun goes and ruins a perfectly good morning by waking me up and forcing me to see it. I trust Funimation to know what they're doing. It's not like they've been sitting here with their heads in the sand while CPM, ADV, and Geneon folded up (Well, ADV did their thing and are still around, but you know) so I think Funi has a good idea of what they can handle and likely base a lot of these big decisions on worse case scenario. They have access to a lot more figures than anyone in this topic so I'm not going to concern myself over what they do too much. |
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Egan Loo
Posts: 1329 |
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M.D. Geist II's distinction is arguably the shared scenario planning, but Manga's co-production of the first Ghost in the Shell film predates it. Andy Frain made personal appearances to talk about his involvement at the film's premieres in various countries, including the Japanese premiere. Animage even posted an interview with him before the film's release. |
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sdhd
Posts: 169 |
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Hopefully it becomes successful.
Last edited by sdhd on Mon Nov 23, 2009 10:17 pm; edited 1 time in total |
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jsieczka
 Posts: 150 Location: Rochester, NY |
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Both Manga and Bandai Entertainment were on the Production Committee for Ghost in the Shell, hence why they are involved in all new productions.
Not always many of the large studios are on Production Committees, Kimi ni Todoke for example has: D.N. Dream Partners (production company), NTV (broadcaster), Production I.G (studio), Shueisha (publisher) and VAP (Distributor). These are the normal make up with and ad agencies and music companies being the other routine investors. |
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configspace
Posts: 3717 |
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True but Production I.G is pretty big and large enough studio to help in their own financing compared to say, TNK which was the studio for School Days. For that, rights are owned by Marvelous, Avex, Lantis, etc. So if Funi does not want to use the subsequent income to do those niche shows, then it's up to whomever they partner with and also depends on the how much of a share those co-producers get (which in turn depends on how much they finance). We don't know who the other producers will be; but while I can't say for sure of course, I personally doubt they will be the kind of smaller investors we see in other shows: like Figma, Good Smile, Pony Canyon, Avex, Lantis.. all of these sponsors have little to gain from advertising (reason for investing) to a primarily US audience. It's these kind of members that will in turn help produce or sponsor the next 'otaku show' |
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ikillchicken
 Posts: 7272 Location: Vancouver |
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You're implying a causation that in fact does not exist. I really wouldn't say didn't turn out well. In fact, I'd say it turned out really freakin awesome
Er...Well, sometimes it's awesome. Sometimes not so much.
Bah. They're nerds on the internet. They hate everything.
Yeah...that might be plausible if Japanese anime companies were run by small children. Otherwise...no. I sort of doubt a company is going to make blatantly bad decisions and sacrifice major licensing revenue in the future just for a bit of invested cash in the sort term. |
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Prede
 Posts: 388 |
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Awesome or not is not the point. Those series sold, really well even for their times. That's why they got sequels and more shows like them If people speak up with their money on some higher quality stuff, perhaps that's what would be made into sequels instead. Still it seems there were a lot of people who liked those shows, or at least wanted to buy them. Maybe to them they were good shows. Their opinion is different then mine though, at least if the little of MD Geist that I saw can represent the entire show. All that matters is sales though. So be sure to buy the shows you like! Last edited by Prede on Tue Nov 24, 2009 1:51 am; edited 3 times in total |
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bayoab
Posts: 831 |
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I don't think being on the production committee changes anything about approvals and it definitely doesn't change song rights. If they choose to use some american band (Radiohead, Backstreet Boys, etc) for some BGM in Japan, you are still completely SOL when it comes to getting the US rights.
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hikaru004
 Posts: 2306 |
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Geneon is actually a part of a Japanese company so they don't count imo. Manga: Karas, a title that didn't do well in Japan prob because it wasn't targeting its Japanese audience too well.
Strat Jacket (another Manga coproduction), can't find data on this one. To this day, we still haven't seen the original release version of both titles grace US shores in a store despite US money funding it. So this is another version of an anime company coproducing American comic X into an anime? If it gives them more money to get us better audio on the BDs for anime that I want, then go for it. It's not like I have to buy the product if its shitty. |
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Ai no Kareshi
 Posts: 561 Location: South Africa |
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When I read the article, I got this cold feeling when I considered the prospect of American minds on the TV adaption of Japanese manga, but when I read the posts in the forum it kind of dawned on me how unlikely that actually is and I feel a little better now.
If they can make this happen, consider me pretty much sold on the idea. 
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dentedonion
Posts: 33 |
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Actually, Hellsing was only revived because viewers in the US had a strong interest in it, right? I'm pretty sure it wasn't particularly popular in Japan. There was a market for it here, so they were able to make it happen. There had to have been some input from the US division of that company. |
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Primus
 Posts: 2778 Location: Toronto |
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New DragonBall series confirmed?!
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kikiyo2
Posts: 36 |
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No!!! This is exactly what the industry doesn't need. The only way for the industry to ever take off is for the Japanese to release stuff here themselves. This will only entrench these unnecessary middlemen more. So now fans will have to deal with waiting for licensing negotiations and expensive dubbing costs added on. WAKE UP JAPAN! The last thing we need is more shitty American adaptations.
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pparker
 Posts: 1185 Location: Florida |
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The Japanese haven't done so great, if you include Bandai(s) and Geneon as direct subsidiaries under the ultimate control of Japanese parents. They released my favorite titles, true, but one died and the other seems suicidal based on recent packaging decisions. Odds are Funi will make money on these deals, as they'll be helping create anime that will sell broadly in the U.S. That hopefully, someday, allows and encourages them to take risks on licensing more arty titles that appeal only to niche audiences (that they didn't co-produce). In any case, the R1 companies aren't "middlemen". They localize anime to the U.S. market, which is essential for broad appeal. A Japanese publisher that tried to localize anime to the U.S. without having a subsidiary here, staffed by locals, would almost certainly fail to please the market. Anway... this subject has been beat to death elsewhere. |
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Tenchi
 Posts: 4474 Location: Ottawa... now I'm an ex-Anglo Montrealer. |
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I doubt I'd care about any titles created specifically to appeal to audiences on both sides of the Pacific, but, if this leads to FUNimation co-producing, say, a new season of Ichigo Mashimaro/Strawberry Marshmallow, I'd be happy to be wrong.
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