Forum - View topicNEWS: Sentai Filmworks Licenses Princess Principal for Summer Simulcast
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dragonrider_cody
Posts: 2541 |
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They've pretty much fixed the timing issues. One great thing about Strike is that they and Sentai actually fix subtitle issues very quickly. I emailed them over a timing issue and typo in Reset, and it was fixed by the next morning. |
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mangamuscle
Posts: 2658 Location: Mexico |
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I bet the very same service will be delivered by Hidive, since it is Sentai (and not Amazon) the owner of the subtitles. |
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dragonrider_cody
Posts: 2541 |
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Most likely. I know there were some initial hiccups, as Amazon's close captioning system made it very difficult for Sentai to do quality checks. But some posters at TAN were able to alert them to issues and get them fixed quickly. And so far, my experience with HIDIVE's customer service has been good. They got an issue with my account fixed within the hour. It's actually quite good for a brand new site that's still technically in beta. |
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Random Name
Posts: 644 |
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Thorfinn
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Let's put it in a different way, they weren't getting any hits, only shows that barely had fanbases going on. Those were fine, but not enough for them to remain as big of a company any longer. |
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Kadmos1
 Posts: 13552 Location: In Phoenix but has an 85308 ZIP |
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On the flip side, at least Sentai is getting some better footing on the competition angle.
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HeeroTX
Posts: 2046 Location: Austin, TX |
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That's pretty subjective, and one could easily argue that if you swap "CrunchyRoll" with "ADV" the same was true 5-10 years ago. What was ACTUALLY true was FUNi had the DBZ cash cow and ADV had the Eva cash cow, and they used funds from those to get most other titles. Again, Crunchyroll & FUNi ARE two distinct companies, their relationship is more like Intel+Microsoft from back when in that they're working together for now, but have their own strategies and revenue. But anyway, if you're saying that ever since the "collaboration" CR & FUNi have a monopoly on all the "good" titles, I'd ask for clarification on what those titles are. Crunchyroll DOES seem to have MOST of the streaming market cornered, but Sentai has non-streaming distribution of several "good" titles that run/ran on CrunchyRoll like GATE. Ignoring DragonBall for now (since FUNi has had that franchise since LONG before this) what "big" titles has this given them? If you're classifying "hits" by streaming numbers and/or online buzz, then I would maintain that CR will likely ALWAYS have the "hits" because they currently have the "best" distribution platform. As I said before,, for me at least, Little Witch Academia would've been HUGE if it was on CR, but instead it's half forgotten since its on Netflix. It wasn't a "masterpiece", but I bet Kabaneri would've been bigger had it not been on Amazon. |
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zrnzle500
 Posts: 3767 |
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^For shows on Netflix, there may be something but for Amazon it only seems to have a marginal effect on the a show's popularity at best. Kabaneri was the top ranked show in the cumulative in its season for a while, only going down after the story had gone down. Scum's Wish was the third most viewed streaming review in its season. Rage of Bahamut and Recreators have done well enough on this site. Maybe they might have done better on the margins but mostly it seems the popularity of Amazon shows is mostly on their merits.
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HeeroTX
Posts: 2046 Location: Austin, TX |
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What's your metric? If we're going with Thorfinn's view, those shows are practically worthless (since CR & FUNi have all the "hits"). While I don't agree with that view, I WOULD say most of those shows are like the ones we hear about on TV. The "critical hits" that don't pull ratings. Scums Wish especially is probably like Flowers of Evil in that critics (especially on here) may have loved it, but I don't think it got any real MARKET traction. To agree with Thorfinn's point, critical praise is great and all, but it don't pay the bills. |
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Thorfinn
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To measure popularity, I'll use the number of people that have these on their MAL accounts, because I can't think of any other better statistics on popularity. (If you know anything else that is reliable and has a huge user base, please let me know). Let's see what Sentai filmworks got in the Summer 2016 season: Food Wars Season 2. Funimation and CR got everything else from the season (therefore anything else that was promising and popular) - Some highlights: Mob Psycho 100 (over 300k MAL users), RELIFE (over 280k MAL users), Orange (over 215k MAL users), 91 Days(190k MAL users), etc. Let's see what Sentai filmworks got in Fall 2016: In theory they have Haikyu 3, but I think CR sublicensed the show for them, because CR claim to have the master license for S3. Let's move on. (this one is unsurprisingly popular, with 160k MAL users) Flip Flappers (76k MAL users), they got lucky this one got some momentum; Girlish Number(54k MAL users), Stella no Mahou (21k MAL users) then Classicaloid, Long Riders, Uta Pri S4, Soushin Shoujo Matoi got between 14k-16k MAL users. Take note, the only reason why Sentai got Long Riders and Stella no Mahou was because Daisuki initially had the exclusive streaming rights for the shows, CR therefore didn't touch them and Sentai later licensed them in the season. Let's see what the competition had. CR + Funi - Yuri on Ice - 194k MAL users, Drifters 174k users, Bungo Stray dogs 2 140k users, Keijo 131k users, Izetta the last Witch 98k users, Kiss Him, Not Me! 95k users, Nanbaka 91k users. The list goes on, with a bunch of titles above the ones that Sentai had, especially the ones in the 14k-16k club. +Aniplex had 2 popular anime (Occultic 9 and 3-gatsu no lion which are both at around 110k Mal users) Winter 2017 Sentai barely get anything, again. Urara Meirochou (51k Mal users) and BanG Dream! with 13k Mal users. You guessed it, CR and Funi have almost everything else from the season. Second season of Konosuba 246k users, Masamune-kun's Revenge 200k users, Kobayashi Maid 188k Mal users and the list goes on with a bunch of titles that are more popular than Urara and Bang Dream. Obviously, the less popular an anime is, the less it will sell. Edit: And then, Amazon suddenly came in and Sentai got 9 titles in Spring 2017. If you go look at Sentai's most popular shows, a lot of them are from the 2014-2015 period, where they could still get the good, the popular stuff and a lot of stuff in general. Now we're at summer and Sentai already got their hands on a bunch of the best and most promising looking titles, whether they become popular or not will remain to be seen, but it won't hurt to have some highly acclaimed titles. |
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HeeroTX
Posts: 2046 Location: Austin, TX |
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For the record, I like several of the CR titles you mentioned. That said, none of those will be "company saviors". And really, what they're "worth" depends entirely on what the company paid for them. If CR paid $1million for Orange and Sentai paid $10k for Stella, I'd say that's a win for Sentai. (financial numbers were entirely made up, I have no idea what they actually paid)
None of the titles is gonna be a Dragonball or a Bebop or an Evangelion, at BEST you're looking at some "flash-in-the-pan" K-On style shows, and even that I'd only say applies to Yuri on Ice and maybe Konosuba. Good business decisions are "buy it for cheaper than you sell it". If Sentai is still doing that then they're doing ok. Right before the bubble burst, Bandai had a bunch of popular titles. I watched Masamune-kun's Revenge beginning to end, it was a fun enough show, but basically disposable and forgotten right after it ended. This is all in a discussion of Princess Principal. I was looking forward to that show. I had hopes it would be pretty fun. But whether it was on CR or now on Amazon I doubt it'll be much more than this season's "Girls Und Panzer" (or similar). Which is to say, fun enough and worth watching, but not any kind of serious financial windfall. |
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Random Name
Posts: 644 |
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zrnzle500
Posts: 3767 |
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Given most of the companies don't give viewing numbers, and from what I can tell, Amazon's exclusives have not gotten a home release in the US, telling how much the show's are paying the bill is difficult to ascertain. For Scum's Wish, I went off of how Jacob characterized the the traffic for the reviews. I'm not privy to such information about anything running this season. Going by Thorfinn's measure, Amazon's shows do well enough on MAL, with 4 of the top 10 and 6 of the top 15 (by most users) - specifically Re:creators: 5th 109,925 members, Sword Oratoria: 7th 98,885, Grimoire of Zero: 9th 90,194, Armed Girls Machiavellianism: 10th 79,200, Saekano Flat: 12th 77,279, and Rage of Bahamut: 13th 76,144. Could Rage of Bahamut have been more like the first season (which had 184,828 members)? Maybe, but older shows and seasons tend to be apples and oranges with current ones, as shows accumulate more viewers later as many do not watch as it airs (compare to say My Hero Academia with the current season at 232,485 members versus the first at 433,632). Though using MAL numbers does bring up questions with thinking that Amazon causes materially less people to see the show, versus Netflix, as MAL users are no stranger to piracy. With Netflix, those who don't pirate will not watch it until Netflix puts it out later, which would mean much less people watch it as it airs and is fresh in the discussion, which certainly has some effect. For Amazon, those who don't pirate it and use Amazon are of course watching it, those who pirate it are watching it, so the only ones not watching it are the those that only stream legally and don't use Amazon, and considering how many have declared they would pirate it, even among those who generally don't, I don't think that number is huge. Being on Amazon has not prevented their shows from getting reviewed and thus being in the discussion, so what is causing them to get materially less attention than they would elsewise? Of course that number of conscientious non Amazon viewers is not zero, so it does have some effect, but given that the number is likely significantly smaller than the other two groups, I don't see being on Amazon having anymore than a marginal effect in viewership. |
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Thorfinn
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Summer 2016 was when CR aggressively started licensing anime on home video, I forgot to mention it, not surprised considering how long my post was. |
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