Forum - View topicNEWS: A-1 Pictures' Vividred Operation Anime's 1st Promo Streamed
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Fencedude5609
 Posts: 5088 |
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Obviously they WANT it to be, but starting a new IP is always a risk, even building off an established concept. Additionally, there is nothing wrong with wanting to make a profit on the product they are making. In fact, if these projects didn't make money no ankle would ever be made. So I find the hand wringing over "cash cows" to be hilarious in their shirt sightedness. As for news, I pretty much have heard all major anime news long before it shows up here on ANN |
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Hypeathon
Posts: 1176 |
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Then why do you often come here if you get all the news you care about elsewhere? |
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punipuniwarrior
Posts: 41 |
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I think some people here are surprisingly clueless on the concept of Supply & Demand.
Supply & demand does not equal 'Exploit & Profit'. Just because something has sold well, does not mean that fans instantly want more of the same. I'm a fan of Strike Witches, but after 2 series and movie - I've had my fill. To come up with something similar with a few aesthetic changes is not something I want. And no amount of sales or 'success' is an indication that a concept/franchise/or even genre should be flogged like a dead horse. Spirited Away, Evangelion, Azumanga Daioh, Gurren Lagann, Ghost in the Shell, ToHeart, Nanoha...all very successful series yet share nothing in common. People love them because they are different and unique; not comparable to anything because they are individual in their own right. Variety is the spice of life, not repetition and the more you try to compartmentalize things into 'artsy anime' 'little girl anime' 'sci-fi anime' the more stagnant things become. There is only Good Anime and Bad Anime; and there is room for both in every genre from Slice of Life to Avant-garde. The difference between the two is originality and execution and they are not mutually exclusive; they are necessary ingredients. So why do they do it? Because they are clueless and they have no creativity, so they can only play it safe by targeting the same audience with the same thing over and over again. You talk about making money - this is the problem. Some of the best Studios, works, series...whatever were made on an incredibly low budget, many of these works are considered classics nowadays and they do indeed stand the test of time. They were not funded by multi-billion yen publishing companies and did not have the luxury of outsourcing their manual work to Korea/China/Singapore. Much like any creative process - you should not be in it to make money and you should not complain when you can't make enough money from it. Taking risks is the only way to move things forward, you only make things stale by re-doing the same shit. And the sad part is that more you refuse to acknowledge this as a problem the harder it becomes for the real artists who want to write something creative but have to keep thinking about the 'profit margin' and once a couple of years of this have gone by, anime becomes no longer about making something creative and intuitive and instead revolves solely around making cash. And once that happens, the industry becomes limited to a handful of big companies who can afford the large amounts of money required to stay on top, and then it expands outwards into merchandise, publishing and then becomes a monopoly...oh wait. |
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RyanSaotome
 Posts: 4210 Location: Towson, Maryland |
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The thing is, me and many others don't see this as a problem. I enjoy anime for being anime.. I don't want it to change, since I generally have little interest in stuff that falls outside of the norm (artsy anime, josei anime, etc). Most people I see who complain about it not moving in a new direction or saying that anime is dying are people who don't even import, so their opinions mean very little on the matter. Import shows that try new things if thats what you want, so your voice is heard. Don't just complain about them never trying new things while not supporting the industry, since what you want doesn't matter to the men in charge then. |
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Fencedude5609
Posts: 5088 |
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On my phone, excuse the lack of quotes
That list of show is nice, but you can cherry pick examples all you want, but that doesn't mean there aren't also plenty of similar show that hade done just as we'll or better than the examples you gave. As dir the plight if the poor, oppressed artists, well, anime is (almost alway) not a single person project. It takes dozens and dozens of people and a cast amount of money. Money that will only get invested if there is a chance of return. Sometimes bizarre projects get approved, and you can find this "artistic freedom" in some surprising places(I highly suggest you check out Sengoku Collection for this. Probably the best example of the "artists" given control in recent memory.) And this remains completely irrelevant to the show at hand, which you know nothing about and are using toile broad, unsupported generalizations. |
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punipuniwarrior
Posts: 41 |
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I do import, so that's invalid. I'm the only person I know who buys both Japanese and English official DVD releases despite not needing the English release. I don't really understand what you mean by 'artsy anime', can you explain this a bit further with some examples? Anime is anime is anime, if you like anime for what it is, then 'artsy anime' and certainly josei will be a part of that. As I mentioned there are good and bad in both. I'm not sure we're on the same page with 'artsy anime' but I'm going to go out on a limb and guess you mean more abstract series...these shows are good because they offer something different from the norm, but it's not to say that they are any better for it in all cases. The problem is that people think of this 'artsy anime' as if it's a genre. It is not, people who enjoyed say...Tortov Riddle, are not necessarily going to enjoy something equally abstract. This is the thing, it's not about a 'new direction' or 'anime dying' or anything like that. It's about changing how things are done completely, because this is where the problem stems from. There is room for every type of anime, but there is no room for milking the success of a previous series by regurgitating it; all that does is saturate things further, the same applies to the many generic Shounen series churned out constantly, it's a simple matter of quantity vs quality and they still haven't figured it out. Fence: Regarding money, there is a very delicate balance to maintain. If you've ever worked high up in a company, you will have experienced this firsthand; the bigger a company is - the less money is divided equally. When you have huge publishing companies sitting on top of animation studios, they put huge amounts into marketing - this is why you get to see your Madokas and K-ONs et al on the side of trains, planes and buildings. The more a product is marketed, the more money it makes. Do you really think all this money is going to go back to the studio employees for doing such a great job? No, it goes back to the publishing companies. It's like big labels in the music industry, the artist themselves have their expenses paid, but don't see a lot of money themselves while the labels take a huge cut of the sales. The artist stays on because they are becoming famous and well known, because of the financial brunt the label has in marketing said artist means said artist's CDs can appear in your local record store and their songs on the radio. But the fame is fleeting like the money said artist can draw in for the label and the labels increasingly try to take a bigger cut of the money before moving onto another fresh face...artists leave, start independent labels in sacrifice of becoming megastars. etc. etc. The same is happening to anime and manga. The same already happened to Manga, been to comiket lately and noticed how many professional ex-mangaka have been starting up their own circles for their doujin works? This is why there has been such an influx of Light Novel adaptions in anime; The publishers were making huge amounts of money while the mangaka get carpel tunnel syndrome from having to complete 10 pages a day on minimum wage, so they quit and now the only adaptable source material left is gotten from Light Novel competition winners, who can essentially sell their IP to Kadokawa for half a million yen and never see another penny. Do you see the similarities to the music industry here? Mangaka can go to comiket and publish doujin works, musicians can put their music on the internet, but as you adequately put; Anime requires a team and thus does not have that luxury. I've also already seen Sengoku Collection and I don't think you quite understand what I'm talking about here. In any case artists should not be kept on a short leash when it comes to anime, they are working for an animation studio because they know what they are doing, they are the backbone of the studio and do not need to be told that their art must face compromises in order to be more profitable. Anime has been fine, (better in many cases) for decades without this, why does it suddenly matter now? You say it bears no resemblance to the show at hand, I'm guessing you've forgotten about Sky Girls? |
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jymmy
 Posts: 1244 |
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I was going to read the rest of what you'd written, but luckily this caught my eye and I knew I didn't have to. Referring to earlier, "The whole is greater than the sum of its parts" is indeed not an opinion, but "Series 1 was better than Series 2 because the delivery was better" and "[SW2] was corny and downright cringeworthy at times" are. |
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punipuniwarrior
Posts: 41 |
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Why? |
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Fencedude5609
Posts: 5088 |
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What about Sky Girls?
I actually expect Vividred to be more like Sky Girls than Strike Witches. |
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enurtsol
 Posts: 14761 |
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Heheh, Takamura is like a Michael Bay of Japan - his anime gets trashed before it even gets released.
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