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Answerman - Thawing Out


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Clockwork Pinkie



Joined: 14 Mar 2015
Posts: 2
PostPosted: Sat Mar 14, 2015 5:15 pm Reply with quote
The anime decals was a nice little read, since I always wanted to to that to my car, and may just end up doing KanColle or something a couple of years down the road.

As for the dubbing, I love it. Though I do love sub more than dub, with the amount of multi-tasking a person has to do these days, it's a life savior. I hope they keep on doing it, it can allow me to keep up with more than a couple of animes each season.
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nobahn
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Joined: 14 Dec 2006
Posts: 5124
PostPosted: Sat Mar 14, 2015 8:32 pm Reply with quote
Clockwork Pinkie--
Welcome to ANN.
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Estelle the White Mage



Joined: 01 Mar 2015
Posts: 51
PostPosted: Sat Mar 14, 2015 10:07 pm Reply with quote
Automobile decals with Lilith from Trinity Seven sounds pretty sweet Very Happy

The picture that comes to mind would be her in an action pose, like one of those "Anime Sniper" wallpapers for one's desktop background. Gun barrel pointed down to the nose of the car in profile.


Though the inquirer who originally asked the question for Answerman will most likely be protected under Fair Use, at least in the U.S.
He's technically doing his own recreation for his own personal use. It would be no different than non-profit fan art on some image hosting website, like DeviantArt.
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PurpleWarrior13



Joined: 05 Sep 2009
Posts: 2027
PostPosted: Sat Mar 14, 2015 10:18 pm Reply with quote
Drac wrote:
The history of Marvel's colorized edition of Akira sounds like a total mess. Decreasing sales of the books show that readers were losing interest as well. Dark Horse's release was far more efficient.


You can still get it through regular comic book issues or part of the series through graphic novels. The Dark Horse edition (the same one re-released by Kodansha) is flipped. The colorized edition is too, but the way I see it, if you're going to flip a manga, you may as well go all the way and color it! Plus Otomo approved the final version and selected the colorist himself. Akira has never received an unflipped edition in English, even in black and white.
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Kadmos1



Joined: 08 May 2014
Posts: 13581
Location: In Phoenix but has an 85308 ZIP
PostPosted: Sat Mar 14, 2015 10:39 pm Reply with quote
Heck, the reason why I watch Trinity Seven was because of Lilith. If I had a Ferrari, I'd put Lilith decals on it.
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partially



Joined: 14 Oct 2007
Posts: 702
Location: Oz
PostPosted: Sun Mar 15, 2015 3:42 am Reply with quote
The impression I get with FUNimation on the simuldub stuff is that more than likely it is one of those situations where their dubbing studio costs them money whether they are working on a project or not. In that case it is actually pretty cost effective to have them working, even if the project is the pits, as it costs them very little extra to have the studio working and doing something, rather than sitting around doing nothing.
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AtoMan



Joined: 17 Sep 2012
Posts: 161
PostPosted: Sun Mar 15, 2015 8:43 am Reply with quote
maximilianjenus wrote:
also makes you wonder if they have not just optimized their dubbing costs, happens a lot in business; there are some resources that costs thousands if not tens of thousands for other companies to produce but my company is develop methods so the cost goes to the hundreds tens of hundreds tops.


But their "simuldubs" are still few weeks behind, which makes them able to record for 4-5 episodes at once, which is pretty much an industry standard. Recording episodes weekly would make the cost much bigger, this is more like a standard practice.

That said, their stance on "going back and fixing the dub for home video release" is interesting, since it implies creating inferior product from the start?
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Alan45
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Joined: 25 Aug 2010
Posts: 9878
Location: Virginia
PostPosted: Sun Mar 15, 2015 8:47 am Reply with quote
@AtoMan

Given that the anime studio often "fixes the show for home release" with revised or added animation, Funimation would have to adjust the dub in any case.
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Banken



Joined: 29 May 2007
Posts: 1280
PostPosted: Sun Mar 15, 2015 8:55 am Reply with quote
Manga isn't going to be color until weekly magazines like Shonen Jump are replaced entirely by e-comics, but even in that case every artist would have to hire several more assistants just to color everything and still meet the deadlines. Which IMO are a bigger issue than just printing costs... there is probably a market for smaller, monthly magazines that run fewer series (Shonen Jump is something like two inches thick, but that's because they run nearly two dozen series a week), but in full color.
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Kadmos1



Joined: 08 May 2014
Posts: 13581
Location: In Phoenix but has an 85308 ZIP
PostPosted: Sun Mar 15, 2015 10:08 am Reply with quote
I think that generally colored manga pages in manga magazine often are for special occasions and this may include a chapter # milestone like the final chapter.
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toyNN



Joined: 18 Jun 2010
Posts: 252
Location: Seattle, WA
PostPosted: Sun Mar 15, 2015 1:12 pm Reply with quote
I lament Funimation's renewed aggression toward licencing (and simi-dubs) as now Crunchyroll is getting shutout of more shows for North American regions. This winter season on CR seems especially dreadful which I partly blame on Funimation. I don't think they are so worried about DVD/BD releases of the shows as much as using the simi-dubs for getting the streaming market away from CR.
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Kadmos1



Joined: 08 May 2014
Posts: 13581
Location: In Phoenix but has an 85308 ZIP
PostPosted: Sun Mar 15, 2015 6:29 pm Reply with quote
Regarding doujinshi and itasha, when/if it's a public domain anime (likely limited to the early silent anime shorts), you shouldn't have a problem with that.
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UrQuan3



Joined: 05 Jan 2014
Posts: 3
PostPosted: Sun Mar 15, 2015 7:11 pm Reply with quote
So, two notes about itasha. There are several companies that do license the material they sell. To find them though, you will have to do most of your searching and communication in Japanese. If nothing else, it will be good practice. Sorry about no links, but I last looked over a year ago and translating Nihongo takes me a *long* time.

The other, they do not sell sets printed for exact cars. What they sell are large vinyl decals of characters and backgrounds that you will hand cut to fit your exact car and apply in several layers to get the effect you want. It's quite time consuming and requires a good vision of what it should look like in advance.

It's all quite doable, but will require patience and work.
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Sacto0562



Joined: 12 Jun 2010
Posts: 288
PostPosted: Sun Mar 15, 2015 8:33 pm Reply with quote
I think we forget that in the USA and Europe, comics that are printed in color are usually completed and colored 3-4 months ahead of publication. This isn't like Japan, where manga could sometimes be completed within two weeks of the publication date. That right there means colored pages are out of the question. Indeed, manga-ka often do corrected artwork before the manga series is published in a collected tankoubon volume.

Indeed, artists like Rumiko Takahashi--who is known to complete each chapter of an ongoing manga series way ahead of the due date--are uncommon in Japan.
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leafy sea dragon



Joined: 27 Oct 2009
Posts: 7163
Location: Another Kingdom
PostPosted: Sun Mar 15, 2015 11:18 pm Reply with quote
maximilianjenus wrote:
yeah, there's the technicality fo manga authors/artitst being only skilled in black and white, most can't use colour effectiely and whenever they colour something it's limited to covers or something "simple", when the actual manga gets fully coloured it looks like an amateur's job, something that you'd find at deviantart. there are exceptions to the rule, some manga artists ramble about their experiences with coloring in the tankubon omakes as well.


Some chapters of One-Punch Man are done entirely in color, and they look magnificent, but I'm guessing that's more an exception than the rule.

Paiprince wrote:
As for car decals, this activity is very popular in Japan and it is called itasha literally meaning "painful car". The garishness of the design leads to cringe from car purists and normal people alike, but otaku take pride in it. Look it up there's a lot of samples with their own take in creativity and uniqueness. Smile Companies and publishers turn a blind eye to them as much as they do with other fan created product like doujin books and games so for the most part, you won't be sued.


I'm guessing what was meant is something pretty different. Those Japanese cars have these bright colors and swirls all over them, as well as artwork and sometimes extra lights, but it sounds like this is simply going to be one illustration somewhere on the car, with the rest left alone. Decorating one's car with illustrations, usually a single small vinyl one, is what I traditionally see.

Then again, I'm seeing discussion about itasha. I'm not familiar with itasha, so I think I'm talking about something entirely different. I'm thinking of vinyl images like the Calvin peeing ones and the turtle family ones and such.

Ryo Hazuki wrote:
Some 40-60 page French albums can take a year to finish and American comics are typically published in monthly 30 page "books" -of which roughly only 20 pages are actual comics.


Well, most of the non-comics pages in there are advertisements, which are present in weekly manga too. (Also, whether it's weekly, monthly, bimonthly, or whatever depends on the series and the artist. DC and Marvel can crank them out weekly, whereas companies with less strict enforcement like Image and Dark Horse usually put them out monthly.)

There are two big factors though: Back in the Golden Age and Silver Age, American comic books were printed on very cheap paper with very cheap and hasty printing, such that colors were frequently misaligned and you only had a few basic shades to work with. Production values have gone way up recently, though you only have to look at the Funny Pages of a newspaper to see that level of printing quality. The other factor is that American comic books are predominantly a team effort, whereas in a manga, the writer is most commonly also the penciller, the inker, the letterer, and where it applies, the colorist. You don't have one person doing most of the workload in an American comic book except at Image, and Image had major problems with keeping a consistent release schedule until recently.

Speaking of the Funny Pages, that was the type of comics I grew up reading, as I'd just pick up newspapers people would leave behind (which, in the 90's, was an almost daily occurrence) and follow stories in comic strips in that way. Because six-sevenths of them were in black-and-white, I had become very used to the black-and-white format of manga when I started reading it. Today, the Funny Pages are entirely in color, though they seem to be done by someone other than the cartoonist. (For the most part, they are done competently though. Peanuts has light, muted colors that work for it, for example, whereas Non Sequitur has a lot of faded dark blues and grays that complement the hatching and cross-hatching. Nothing that compares to Sunday strips for Calvin and Hobbes back then though.)

Alan45 wrote:
@Greed1914
The worst thing a company can do is stagnate. Especially in a evolving market like anime. Business as usual can kill a company.


Depends. A company can afford to stagmate if it has a monopoly, or at least a lack of significant competition. In those circumstances, there isn't some other force threatening to end your company, and so the most logical course of action would be to take as few risks as possible--your consumer base won't change short of them dying out.

I don't know if FUNimation was ever in this situation, but after that 00's anime bubble burst, it sure felt like it was the only big player left in anime. FUNimation is not the sort of company to let itself stagnate though--even if it has no direct anime competition, it must still compete with other media producers.

In one of the hobbies I follow (whose World Championships had just ended on Sunday), the manufacturing was reduced to one company in the entirety of the 00's. During that period, this company earned a reputation for a near-total lack of innovation or risk and low build quality. But whereas all of its competition had vanished, this company thrived because it rather closely followed the mainstream image of the hobby, and it was able to consistently bring in enough revenue from outside its fandom to survive to this day. Not coincidentially, when major competition DID pop up in 2012, the company shot way up in workmanship and creativity.

Basically, when you're a company, you need something chasing you to keep running.

Dfens wrote:
As for webtoons their is no comparison when comparing to actual printed Japanese Manga. You can tell that stuff isn't drawn on actual paper and the level of experience/quality is all over the place. It's just as simple as the pool of talent available compared to Japan.

It may work well in Korea but not in other countries. Look I've read or tried to read a few of their titles, their is one in particular I read every week that has really good art but it's something a American independent comic company would put out but nowhere good enough for release in Japan. Don't get me wrong their are a few Korean artists that are as good if not better than the ones in Japan but they are only a handful I can count on one hand.


I don't understand: What makes the Japanese comic book artists higher quality? I'd imagine that if there is the same infrastructure for webcomics in Japan as in other countries, the quality would be all over the place too.
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