Forum - View topicNEWS: No Grand Prize Winners, Honorable Mentions Announced for 7th Kyoto Animation Awards
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Via_01
 Posts: 551 |
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I'm sorry to say, but what's wrong with a contest being strict? What's wrong with judges taking their jobs seriously? Most literary contests I've participated in have this very same line in the application form: "if no work if judged suitable, then there'll be no grand prize winner this year". There's one of special notoriety that hasn't awarded the top prize in almost 5 years, and no one has criticized it for it.
The problem I see over here is that people seem to be jumping to conclussion, and negative conclussions for that matter. "If everything's garbage, then what's the point?" No, that's not how it is. That there's no Grand Prize or encouragement award doesn't mean that everything's terrible, it simply means that nothing was up to the judges' standards. They could've been decent, solid, promising, but simply not good enough, and that's alright! These people can get better, and if they are handling it like any decent literary/animation/whatever contest does around here, then they'll be sending over their final judgement and criticism towards the authors so that they can produce something better next time. Seeing that a contest hasn't had any big winners for a while won't necessarily discourage people; rather, it'd make them think twice before sending something that might not be up to the standard. And besides, most people who apply to this contest are already KyoAni fans, and they know exactly the history of this contest, and what they're getting into. In the end, all I'm getting from most comments I've seen is "KyoAni won't lower their standards, so they are ultimately big not-so-nice-people!" Sorry, that's simply not how it works. |
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leafy sea dragon
 Posts: 7163 Location: Another Kingdom |
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But if they said that, they'd have to pay for it.
Yeah, I can definitely see interest dying down should these awards continue to happen where nobody wins. People will think, "What's the point?" But what I'm more interested in knowing is, should fewer people apply, will Kyoto Animation continue to hold these awards? Will there be a point where they, too, say, "What's the point?" and stop holding them or give them major overhauls? I personally believe at least one award should be given out. Doesn't have to mean they'll adapt the script. Call it a "grand prize" versus a "special grand prize" or something.
Are they? Do the people who send in their stuff retain the rights to their works? When I submit stuff to screenwriting contests and such, I always make sure they mention in the rules somewhere that I hold the rights to my own submission. Otherwise, I do not trust that the people running the contest won't take it from me. Theft of story ideas happens in Hollywood all the time, and that's no secret. Way back in the movie Sunset Boulevard, the protagonist, who's a screenwriter, warns Norma Desmond, "Never tell another writer your idea; they might steal it," indicating this practice is at least that old.
See, there was no mention anywhere of Kyoto Animation giving feedback to the people submitting their stories telling them that their stories were good but not good enough. As far as we were concerned, we people who have no knowledge of these contests, Kyoto Animation just took all of the submissions, announced that there were no winners, and ran off. Maybe it is like that. Who knows? But it creates the impression that Kyoto Animation just said to everyone, "You all suck!" Well, it did to me. |
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CapNatsukiSan
Posts: 12 |
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LOL, so this notion of 'EVERYONES A WINNER' has spread here too?
In this competition, winners are NOT judged based on the pool of individuals participating (i.e. if the entire pool of participants are shit, then they just choose the best of the bunch), they are judged based on pre-existent requirements of quality: the grand prize (MIND YOU, NOT THE ONLY PRICE AVALIABLE, KyoAni has given out prizes, just not the big gold) is only given, if a submitted work is of a level of quality that can considered a literacy masterpiece; that's the norm over there. The previous entries had mostly half-decent and easy reads, like Chuunibyo, but are still on conventional LN quality level, hardly anything award-worthy. I have personal experience with this type of judgement system: having studied in Chinese schools, if the school had a shitty year group, they wont award scholarships or grants to anyone, since they haven't achieved the minimum requirement for such an award. For those who think authors no longer give a shit about this competition, think again: KyoAni's brand commands a great deal of respect in that region, and I doubt a bunch of butthurt western anime fans; who are used to getting participation awards and giant gold medals for having the ONLY workable science project in the room; can influence that. There's a difference in being driven by the desire for perfection, than being driven by prize money. For those who can still command their brains to practice reason, below are some interesting links and tweets: http://ultimatemegax.tumblr.com/post/144561273813/on-the-kyoto-animation-awards-and-results https://twitter.com/Yuyucow/status/732993517224624129 |
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Agent355
 Posts: 5113 Location: Crackberry in hand, thumbs at the ready... |
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So, entries submitted to KyoAni's prestigious contest aren't good enough to win (and thus receive prize money), but they're good enough to animate or publish? I'm sorry, but I guess I can't see the logic in that because I'm a "butthurt Western anime fan." Please explain to us how KyoAni only cares about quality in their writing contests while they produce below average shows like Phantom World based on an "encouragement award" winner. I'd love to understand their esoteric way of thinking.
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ptj_tsubasa
 Posts: 129 |
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You assume that this is a "cheap" way to acquire material to adapt, and that the original creators are not being compensated fairly. But if Kyoani really wanted to be cheap, they would stop having this contest to create new ideas and new IP, and go back to being the hired man who adapts Kadokawa manga and lights novels for a fee. That way they wouldn't have to pay anything to anyone, just like every other studio.
Why would serious artists participate in talent contents? Contests are a way for newbies to have a chance to get their works awarded and maybe published, not an employment office. |
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CapNatsukiSan
Posts: 12 |
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Simple. Winning a strict competition doesn't equal to getting an animation production, these are based on entirely different paradigms of decision making, though in rare instances, one can actually lead to another. KyoAni may choose titles that have marketable appeal to adapt for profits, and their so-called 'care for quality' are simply showcased by the usual high production values they afford each adaption. As for choosing worthy winners of a bloody competition, of course rules are applied differently: literacy masterpieces may not have maximum market appeal, but their written coherence and overall quality are what matters the most in a writing competition - NOT how appealing it is to a mass audience. A masterfully written political drama, for example, will less likely to be written and submitted by newbies, and thus a winner prize will less likely to be awarded in competitions, and even less likely to be adapted to anime, since the general publics are attracted to more easily understandable materials. |
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leafy sea dragon
Posts: 7163 Location: Another Kingdom |
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So then, what's the point of having these awards in the first place if they're not directly tied with what they intend to adapt?
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Cptn_Taylor
Posts: 925 |
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No it is not a bad word. Doing a contest and then not awarding prizes is a scam. In most civilised countries that is. Wether Japan is civilised on this matter is debatable. Try pulling a stunt like this in Europe and you will get your ass sued to oblivion at the least. |
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ptj_tsubasa
Posts: 129 |
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Finding fresh talent and new ideas, maybe? Or just doing things differently than the rest of the anime industry. Kyoto Animation is based in Kyoto, far away from the rest of the anime industry in Tokyo. I find it very possible that they just aren't bound by the same "this is how we've always done things around here" mindset. Sure, they could just hire someone established to write up a completely original concept. And that's what most likely will happen in the future, seeing that there were not even honorary mentions this time. But do we really want more Mari Okada shows every season? |
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killjoy_the
 Posts: 2459 |
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You'll notice that the adaptations are re-written to hell and back. |
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CapNatsukiSan
Posts: 12 |
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Its as if some people here don't know how to click links: from ultimatemegax's site:
'First, there are three categories: a novel category, a scenario or script category, and a manga category. There are no limitations on genre as long as it’s original and fits within the page limitations offered. Second, there are three potential prizes that could be awarded. The top prize is a “Grand Prize” awarding 1 million yen to the winner. The second is an “encouragement award” or “honorable mention” with a 100,000 yen prize to any winner. Finally, starting with the 6th award competition, Animation Do offered an “Animation Do Special Prize” with 300,000 yen going to those winners. There is also a possibility where no awards are given (due to none meeting the criteria of the judges). Winning submissions will have a brief review published and this review is limited only to winning submissions. The judges take their job quite seriously. In order for a title to earn an award now, the submission has to be of notable quality. No prizes will be given merely for prizes to be given out; they have to be earned. That aspect seems to fall flat in the US, where “there must be a winner” applies. The Kyoto Animation Awards are not the only competition where a winner may not be awarded. Many publishers in Japan run contests where there may not be awards handed out. This does not make the contest a fraud (especially when it costs only postage to enter), it merely makes the competition stricter than those in the US. (Got that in your heads yet?) I’ve also heard a comment that “they shouldn’t hold the awards if they don’t have the money to award anyone” and that it should be crowdsourced for that reason. Kyoto Animation is financially stable enough to purchase a new lot of land for a new building housing a studio and store. They have enough money to run these awards. Some may ask about the quality of the writing from these awards. Having read a fair amount of them and works by better authors, I can simply say that the majority are of the level of light novels. Easily publishable/readable, but not near literary quality work. For example, Chuunibyou’s first novel has a spot where they randomly go to an amusement park (for advancement of one plot line involving Rikka’s father). Why do they go to one? The principal cancelled classes to have the students go on a trip randomly. That’s not solid writing; it’s flimsy at best. To say that it “deserved” to win the Grand Prize is laughable. An encouragement award was suitable for the quality of the writing it had. I can say similar things for Kyoukai no Kanata and Phantom World. While entertaining enough to be worthy, the literary quality is definitely a step down. Finally, there is an incredibly annoying trend in the English anime fandom to be upset that the directors/series composers alter the novels for the television anime product. Animation adaptations are just that: adaptations. Novels may not be suitable by themselves for animation. Again, the first Chuunibyou novel was marked down because most of the story is simply Yuuta and Rikka studying math. It’s good for a novel, but trying to make an entire series from that is incredibly unfathomable. We as foreigners cannot impact this setting, nor should we when it works. Take the time to calm down and look at the bigger picture. This allows projects like Sound! Euphonium and A Silent Voice to be made when there’s not enough material to adapt. We may also see more film adaptations instead of TV ones if a late night series isn’t the best medium for a story. There’s little to be upset about, yet Western fans seem to need something to get upset about (especially since there won’t be any new seasons of past shows).' |
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Agent355
Posts: 5113 Location: Crackberry in hand, thumbs at the ready... |
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Yes, KyoAni wouldn't have to pay anything to anyone if they just did Kadokawa adaptation, BUT they also wouldn't have full creative control of their product. Newbie writers and artists submit entries to a contest. KyoAni has full rights and access to all the original ideas submitted to them. They claim none of them are good enough to win the full value of the grand prize, but somehow they are good enough to animate completely on KyoAni's terms, for whatever amount KyoAni is willing to compensate the original author for, which (and I'll admit I'm speculating here) is no doubt much, much less than what an established, professional writer or artist would demand. Because they're Newbies, and they should feel lucky that their material is even being adapted, as it wasn't even good enough to win the grand prize! I'm very much reminded of Tokyopop's Rising Stars of Manga competitions, and their predatory contracts that had new, unestablished comic artists giving up all their intellectual property rights for the lowest possible rates for the "honor" of being published--completely on Tokyopop's terms. So, yes, it is a scam to get ideas from people who are willing to give them up for next to nothing, for the chance of being published or adapted by KyoAni. It's called "taking advantage of new artists and writers" and it's as old as the entertaiment industry itself. |
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Mohawk52
 Posts: 8202 Location: England, UK |
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leafy sea dragon
Posts: 7163 Location: Another Kingdom |
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Well, what I mean is that I would've at least expected who wins in these contests to be tied to what they adapt. If they're just asking people to send in their ideas, and whoever they feel is good enough will be compensated, they can just do that without there being any sort of contest or competition. These sound like the competition and what they actually choose to adapt are unrelated, which makes me wonder why even have these awards when they're largely devoid of meaning.
I'm pretty sure most of us understand what you're saying. Doesn't mean we'll like it. Maybe it's a difference in culture, but I, and plenty of others, will enter contests with the hope that I'll win. If there hasn't been a winner in some time, I'll go and find another equivalent content that has a greater amount of winners, as the contest devoid of winners will look like a wild goose chase. Seeing other people win will give me encouragement that I can win too. (As a result, I've seen a number of the inverse of the Kyoto Animation Awards: Ones where there's always at least one winner, but said winners are not necessarily adapted. In other words, it sounds like Kyoto always picks at least something to adapt but doesn't always pick a winner, whereas with these, they always pick a winner, but don't always pick something to adapt.) In casinos, the slot machines with the most frequent payouts are the most visible ones: Ones near entrances, ones adjacent to walkways, and ones near other attractions. This is so people walking by can see other people winning and get them to play on those slot machines too. For another instance, I had won a plush toy at a claw machine at a supermarket. When I picked it up and walked off, six people wanted to play it. Seeing winners puts a drive of encouragement into people, even if their odds aren't actually better. |
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Zin5ki
 Posts: 6680 Location: London, UK |
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Now there's an idea! Add an element of spectacle by inviting all failed entrants to participate in a sporting tournament. At least they would then enjoy a small amount of public exposure. |
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