Forum - View topicANNCast - Dethtok
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joecoolhascome
 Posts: 27 |
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All I can say is I REALLY hope Baccano and Durarara are successful. IM LOOKING AT YOU PEOPLES!!. I've bought Baccano and plan on getting Durarara when it comes out. Please buy them!!
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mglittlerobin
 Posts: 1071 |
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As for my opinion on the fansub debate, I do think it's ridiculous how people always tend to spout the same argument over and over, nobody ever says anything new. It's either "Fansubs help the industry" or "fansubs hurt the industry". I tend to think that fansubs only help if the people who downloaded it actually went out and bought the licensed product when it got over here. I'm not bothered by them. What bothers me is when these "fans" who just watch fansubs say something is their favorite anime and then they make excuses not to buy it when it gets licensed.
I personally don't watch them since there's so much legal free streaming I'm happy to just watch that instead. |
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einhorn303
 Posts: 1180 |
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This interview really improved my opinion of Media Blasters. Yeah, I guess I'm swayed by frivolous things, but I like that "fan spirit."
I would love a re-release of Project A-Ko, no matter the low quality of the available materials. |
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_V_
 Posts: 619 |
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Room full of men wearing suits and ties, with no functional plan for addressing their problems. vs Maniac in a costume, with a plan. http://www.youtube.com/watch?v=Yhtg7A9BckA I guess we'll see how loyal a hungry dog really is.
The first with their backs against the wall when the ReVolution comes. 1 – sorry for subtitles. I am working on my Master’s Thesis and didn’t have time to properly subtitle them, I just raced off some subtitles really fast, then realized it was white-on-white (I'm using Windows Movie Maker, this would have taken too long to fix)...I was already taking time away from my research, so I was faced with the choice of releasing it now, when it was still "news"...or a full month later. So I figured it was better to get it out now. ("interview" in quotes? Yes that fits; I slapped on the last hour just as a bonus, the first 30 minutes were the actual "interview"...but I’d have considered even those 30 minutes “an interview”. The rest is bonus.) 2 – Grant eats lunch a lot during her panels; they don't really schedule breaks very well. I went to all of her panels, and in the end she had a half-hour break before she had to leave for the train, so we squeezed that in (Saturday night was shot because she had to go to the awards gala).....but really, guests do that often; even at her Nebraskon panel, as seen here: http://www.youtube.com/watch?v=Ege6kAMsHQM&featuret#t=2m40s 3 - I e-mailed it in, and got an e-mail back asking for it in press release format. I honestly assumed that if you didn’t like it, you’d edit it; yeah, I guess someone “assumed it was newsworthy” – I think it got in because she revealed some news about the new Section 23 Dubs. -- AnimeVice.com, Aintitcoolnews.com, and AnimeNation.com also ran the interview as a news item, so this was not some isolated judgment by whoever was handling this at ANN. Multiple sites considered it news...and you've got to admit, there isn't a lot of news these days (well, this was right before the big Bang Zoom tantrum) 4 - Yes, Gainax didn't make it; produced by Khara. I often say "Gainax" because a lot of fans don't know what that is, and they understand "Gainax" to mean "the creators of Evangelion" -- nonetheless you were right to correct me, particularly when discussing the licensing. Of course, Gainax's name is still in the credits due to copyright junk, and the entire Gainax production team that worked on the original series came to Khara to work on Rebuild, so from a storytelling standpoint we think they're the same but.....yes, yes you're right to point out its not "Gainax" when discussing the license. I didn't know NTV was the licensor, nor, of course, could I have known of that theaterical release craziness...
....the Blu-ray release came absolutely last, in March 2010; it was in theaters in summer 2009....small difference though
Interesting. How well is it doing on DVD/Blu-ray? I haven't heard a figure, I assume well. How well did it do theatrically? Well given that it ran in maybe two dozen theaters, for a week or two AT BEST in most...it was more of a "limited screening" than a "theatrical run"...nonetheless the figures say it made proportionately as much money as Ponyo did (in terms of ticket sales per theater)....of course, given that it only ran at maybe two dozen, I doubt this could possibly have compensated for the massive expenses of a theatrical run.
If they cared about English dub continuity, they wouldn't have given End of Evangelion to Manga Entertainment. Where was their concern for dub continuity, when we had to suffer through third tier characters that sounded nothing like their original counterparts? (deep voiced Hyuga) If they cared about DVD quality consistency...where were they when Manga Entertainment's End of Eva DVD turned into one of the infamously worst-quality DVDs ever made? 
Well you just said that FUNimation hasn't had a theatrical release in so long, that they themselves simply outsourced it to a third party company. It wasn't "FUNimation's" theatrical release. Who is to say Section 23 would not do the same?
Very good point. One I cannot easily explain. However, does *FUNimation* think its worth all the hassle of a large-scale theatrical run again? If they had so much trouble with it the first time, I doubt they're "eager" to have another theatrical run. Of course, Section 23 physically can't make even the limited run that FUNimation could. Then again, if BOTH FUNimation and Section 23 turn to Khara/NTV and say "look at the evidence; Rebuild of Eva 1.0 only ran in a few cities at basically screenings, we can *never* hope to profit on a theatrical run; yes we realize this is as big as Star Wars in Japan and much of your profit came from ticket sales there; but here, a theatrical run would simply be a drain on resources, no one would win. Running Eva 1.0 in theaters didn't even have a significant impact on "buzz" or publicity, because it was too small-scale." So we can't really predict negotiations hardball, but we do know that FUNimation had a hard time doing a theatrical release of Eva 1.0 and would probably try to advise NTV against it, while Section 23 cannot; and now they have the proof that "look, see how Eva 1.0 did when you tried a theatrical run; it didn't work, at least not the way you wanted" So I actually think either company, or even FUNimation by itself (utterly ignoring any possibility of Section 23)....would now be trying to desperately convince NTV that a theatrical run is impractical. I actually spent time in the interview talking about how "Japanese companies don't realize that Eva isn't as big here as it is in Japan" and how, despite the Bandai Visual debacle, "they don't understand that you can't charge 3 times as much, $100 for a box set"... But most of all, guys, I would like to correct something from your podcast, about what exactly Tiffany Grant said: Grant is responsible for comments she made in an interview that went public. but you admittedly didn't watch my whole interview video, then *guessed* what she said, putting words into her mouth. And because it was my interview I posted, that puts words in my mouth. I could get in trouble for your guesses. You just spent a podcast talking about how you don't like it when fans take things you say out of context, so please don't do the same: Further, in the actual analysis post we made about "who will get Eva 2.22?", I quote it specifically. Nonetheless if you couldn't get through the whole thing, I did make a 5 minute long "trailer" for the interview that covers the most important parts, particularly Grant's statement, so here it is direct-linked:
***Grant never actually said "I think Section 23 will do it". That's taking it too far. No, she did not "throw it out as red meat to fans at a panel". You really think they'd just "dangle" that in front of fans, when it seems so improbable? Its not exactly a lie we'd believe. Its the same way ANN is critical of live-action Eva, saying its just "dangled" in front of fans; of course they keep mentioning it -- who wouldn't in their position? -- but ***even when Joseph Chou himself, producer on the project, came on to ANNcast and said "guys, you do realize that there are specific reasons that the live-action movie kept getting delayed, and we've actually cleared them and have even signed up a specific studio now"....even then you did not believe him, that it was more than just a trick to woo fans. Oh ye of little faith. But Grant did not "throw this out as red meat" -- indeed, she may have just been referring to how the licensing fee for Eva 2.22 is so enormous that it is "impossible to tell" and had no real specific alternative in mind. Rather, *on our own*, we looked at the situation, and *our* speculation was this: 1-FUNimation now dominates the market 2-companies like Bandai and Media Blasters are having problems and probably can't afford a big license like this, probably not Viz either. Moreover, its the second film in a series, they have no motivation to spend so much for proportionately small gain. 3-"mainstream" companies like Disney and Sony have the money to get it, but they won't. Disney just eats up Miyazaki stuff, and Sony sees no real future in the North American market....particularly not enough for such an expensive, risky license. Thus, we agree with ANN that FUNimation is the ONLY company that would realistically want to buy the license, in order to make a profit. ("All you people care about is money...") However, Section 23 wouldn't get Eva 2.22 for profit; indeed it may even lose money. Its a matter of restoring lost prestige. Similar to how Manga Entertainment wanted to show everyone "look, we can get a high-profile license like End of Eva! We're as great as ADV!" Also, corporate matters must be considered: FUNimation is owned by Navarre. Navarre answers to its shareholders. The rumor mil has it that, emboldened by the financial success of Eva 1.0 in Japan, **the license for Eva 2.22 is going to be the most expensive license in the history of the R1 North American anime industry** Companies don't just want "profit", they want "proportionately a lot of profit" What will FUNimation have to say to the investors at Navarre? "Well this thing costs a million dollars and we hope to make back $900,000"? Navarre would turn around and say "that's crazy, we only care about profits, take that million dollars and spend it on buying ten other TV series which have a proportionately bigger profit margin; maybe some of this "Moe" stuff, that sells well; girls without pants..." FUNimation has to do what their parent company tells them, and their parent company Navarre cares more about profit margins. Indeed, Viz is also owned by a large parent company, they were the only other long-shot, so I do not seriously think that in these belt-tightening times, a major corporation will license a disproportionately expensive movie, Eva 2.22, as a matter of "prestige" ....Section 23 on the other hand, is owned by.... ...let us say, is "not owned by a major corporation". Section 23 is thus free to make its own crazy decisions, where FUNimation is not. There's going to reach a point -- the question of course being where -- when Navarre says "this is madness, they're going to force you to make a theatrical release which we'll actually lose money on, they're not budging, and they have so much money from the success of this film in Japan that they don't NEED to lower the asking price" -- Navarre forces FUNimation to pull out ...Section 23 then spends their last dime licensing Eva 2.0, because it was just "another movie" to FUNimation but a *flagship title* and symbol of lost prestige regained to Section 23.
With Evangelion, all things are possible. Thank you very much for devoting time to addressing my question in your podcast, it was very helpful. |
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rabrek
 Posts: 188 |
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As I recall, the OAV was pretty anti-American military, a nuance often interpreted as "anti-American". Even as I watched it, I figured it was unlikely to get licensed. Dunno whether that's the reason it's been passed over. I really enjoyed Meredith's guest spot. First time I've given the podcast a second listen, actually. I pine to get a look at that Zodd plush. "Zodd" and "cute" in the same sentence... requires a jpg. |
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neocloud9
 Posts: 1178 Location: Atlanta, GA |
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Knight Hunters was so cheesy and low-budget, but I still love it anyway.
(My nostalgia goggles are too strong...) Great interview, BTW! Glad something good came of this audio snafu. |
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machetecat
 Posts: 396 |
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Ah... Project A-Ko... I have some rather fond memories of that movie. When I was in junior high, we had randomly decided to rent the sub VHS of it to watch for a sleepover.
BEST. SLEEPOVER. EVER. We laughed so hard we cried. Saw the dubbed version on FUNi's channel back when they did those weekend movie nights... and that was quite disappointing. Now I know what people are talking about when they mention how bad dubbing in the early days was.  This did remind me that I need to buy that movie sometime in the future... so yeah, re-release it!
Awesome interview. I was into a lot of Media Blaster's stuff when I was younger, so it's great to hear they have such cool people working there. And on the subject of numbers: I would like to hear more of those, at least so I can understand what's selling and why. I remember at Katsucon everyone cheered when they mentioned Kenichi season two, and Adam was like "Clap for yourselves! It's because you guys bought so much of this show that we were able to get season two!" I then became VERY curious about the numbers for that show, they act like it skyrocketed way above and beyond expectations. |
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Kalessin
 Posts: 931 |
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What I found interesting was how in the beginning of the podcast, Zac was arguing that anime companies should be a bit more open and vocal about how their titles do - if nothing else to cut down on the complaining and question asking - but then Meredith (who seems to be quite cool by the way) was saying that she thought that it was the anime companies who were quiet and said pretty much nothing about how well they're doing who are doing well, while the ones who are vocal about it do poorly.
Personally, I'd love to know how well individual titles do. We don't really have much to go on at the moment for how popular a title is or how well it did. And given the whole fansub issue, a lot of what we see is pretty skewed. Just because people are talking about a show doesn't mean that it sold well, and just because they're not talking about a show doesn't mean that it didn't sell well. So, I'd love to hear more about that sort of stuff. I had been getting the impression that Media Blasters was alive and better off than Bandai but not necessarily doing all that well. However, this podcast made it sound like they're doing quite well. So, a lack of information can quickly give people the wrong impression. On the other hand, why do we need to know how well a title did? If we're interested in it, we buy it (hopefully, anyway). Whether or not other people bought it shouldn't really matter - especially then you'd often hear that sort of information (assuming that they'd give it out) after the initial sales when most people - including you - probably bought it if they were going to buy it. So, unless you're choosing what to buy based on what other people have bought, I don't see much value in knowing that sort of information other than the fact that you'd like to know. And given how many people on this forum talk about not wanting to purchase a show if there's any risk that it's not going to come out entirely (which is silly considering how rarely that that's happened) or otherwise decide that they shouldn't buy it because of some little thing, I'd definitely be concerned that there would be a number of folks who would decide to not buy it because of something in the sales numbers. In particular, I can easily believe that there are a number of people out there who would choose not to buy a title because it didn't sell that well - either because they think that must mean that it's not good or because they'd be afraid that that would mean that the rest of the title won't be released. And while some people might buy a show simply because they know that it sold well (thinking that that must mean that it's good), I question that all that many people would buy for that reason. I get the impression that people are generally looking for reasons not to buy something rather than to buy something. So, it doesn't really seem to me like an anime company has much to gain by telling us how well a title does. Personally, if a title is released that I'm interested in, I'm going to buy it. Who releases it doesn't matter (from the perspective of whether I'm going to buy it or not - though it can make a difference in how good the extras and packaging and the like are and therefore how happy I am with the release) nor does how well it does. I might buy something faster if I knew that it wasn't doing well, and I wanted to increase the chances of it coming out on Blu-ray, or if I wanted to help make sure that another season got licensed. But even then, I'll probably have bought it anyway, and it's not like my one purchase is going to turn the tide. So, I'd love to know sales info, but I'm not at all sure that it makes much sense for the anime companies to tell us any of it. |
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Lord Geo
Posts: 2545 Location: North Brunswick, New Jersey |
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I can fully understand how Eiken is a bad anime... Because after reading 12 volumes of the manga, I can fully attest that the OVA just didn't "get" what the manga is.
The manga is a full-on parody of the harem genre and over-using of fanservice. The breasts and fanservice are taken to the over-the-top extreme just for the hell of it and to poke fun at them, and the harem-esque moments are obviously done as parody. The OVA, though, was pretty much everything that the manga was making fun of... And it was just a "meh" OVA as best. Apocalypse Zero was obviously so ultra-violent just so that there would be a title that was such. In a sense, though, it oddly shows off how much Kakugo believes in justice and how far he'll go to protect it. Of course, this is another example where the manga is much better, and in general the fights against the monsters pale in comparison to the fights against actual humans. Fighting piracy with bazookas? This is why I love Meredith! The only thing missing from this podcast was an out-of-nowhere new license mention, but that's more of a John Sirabella thing... Maybe when ANNCast actually interviews John we'll get one of his treademark surprise announcements. |
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Paploo
Posts: 1875 |
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I'd love to see an interview with John. AnimeonDVD can't be the only place for him to randomly slip license announcements.
I also now need to get Apocalypse Zero 0_o It sounds wretchedly awful, Angel Cop style |
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animeboy12
Posts: 160 |
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hmm I remember this conversation
Anyway speaking of Eiken does anyone know what's going to happen to the last six volume of the manga? |
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jsevakis
Former ANN Editor in Chief
 Posts: 1684 Location: Los Angeles, CA |
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I don't know why I'm bothering to reply to this, but what the hell.
DVD/BD: No data yet. Theatrical: OK for a small run with little to no marketing spend. No idea what they spent to strike a dub print though. If it was Dolby SRD encoded and they did English opticals for credits, they blew some money on it.
Different "they," vastly different market, vastly different era. Completely different licensor. Also End of Eva came around during one of the times ADV was in a cash-crunch and they couldn't afford to pay the ridiculous amount the licensor wanted. There were likely some political issues at the time as well. Manga was still trying to spend themselves back into relevance at that point. Money talks.
Yes I do. She's a voice actress, and I mean this with no disrespect, but no voice actors that I know of are in a position to know about licensing at all. They do, however, constantly get asked about business things, so they tease things they don't know about all the time at panels. It is very common practice.
Neo-ADV is in a delicate state of rebuilding. If they were dumb enough to go deep into debt to bet everything on a really high priced show purely for bragging rights, then they deserve their fate. I do not think anyone currently active in the anime business is that stupid. And this business employs some INCREDIBLY stupid people.
Zac was talking about being candid and honest with facts. Merideth was talking about braggadocio and bombast. Very different things. |
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Pandadice
 Posts: 182 |
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you all have no idea how disappointed I am that Ben was not on.
no idea.... -.- (p.s. Seto no Hanayome is awesome Zac. you should check it out) |
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Lord Geo
Posts: 2545 Location: North Brunswick, New Jersey |
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When I was at the RareFlix store a few weeks back I asked about this and I was told that the manga was experiencing a bit too much in declining sales, so Eiken will most likely not be fully translated... Not to mention that MB's manga division isn't in the best form right now. |
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Dargonxtc
 Posts: 4463 Location: Nc5xd7+ スターダストの海洋 |
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It was a swing and a miss... but it was a close miss. Not to say that you don't know your shit, but it was a straw man from beginning to end(of certain segments).
Perhaps someday you will realize that you are bigger than you give credit. And act accordingly. |
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