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Crunchyroll's Ellation Plans to Expand Original IP Beyond Video

Yeah, and "Hellcat" didn't exactly tank either. Marvel doesn't track the sales numbers for anything that isn't a floppy (because why bother keeping track of digital sales and TPB sales, which have been a growing market since Marvel started pursuing them?).

It's done phenomenally with kids and women--as have all of Leth's other works, like her two Adventure Time comics (Seeing Red and Bitter Sweets). You know, the kind of people that a) don't normally buy comics from the direct market, and b) don't have some kind of axe to grind against Kate Leth.

Sure, it'll take ages before they have the kind of money Netflix throws around to make a thing like Devilman Crybaby, but they had to start with Knights of Cidonia before they got Seven Deadly Sins.

I don't get how they came to the conclusion that this is what CR's subscribers are interested in. If you look at their features on the most popular shows in the US/EU none of them are remotely like this. It makes no sense that they went from having multiple seasons just dominated by shows like Attack on Titan and decided that for their first original IP they need a cutesy fantasy series sold on the sexual orientation/gender of its staff/cast/characters.

Yeah, exactly. It's always long-running anime based on shounen manga that has the most views. And sometimes LN adaptations as long as they are fantasy/sci-fi/harem, like SAO, Isekai Maou, Re:Zero etc. and sports anime (Free!, Kurobasu etc.). Shows with an all-female cast never make it to the top!

Netflix didn't make those shows. Don't let their 'Netflix original' tag fool you. They just licensed them. If Crunchyroll uses their money to fund a cool obscure anime adaption of a manga, then sure, that'd be cool. But something tells me that's not the direction they're going for, even if this succeeds. Especially if this succeeds.

But while Japanese anime has turned Crunchyroll into a niche streaming success story, it has also limited the type of stories shown on the service. “Anime continues to be a domestic product for Japan,” Gao said. Japanese animators produce their shows first and foremost for Japanese audiences, addressing Japanese sensibilities.

At the same time, Gao and his team started to notice a growing group of fans on its service who were honing their own animation skills. “We are seeing creators who grew up on our platform,” he said. Now, the company wants to give some of those new voices a forum by producing their shows for a worldwide audience. Said Gao: “Their perspective is a more global perspective.”

Sherris wrote:

Devilman Crybaby, B: The Beginning, A.I.C.O. -Incarnation-, Sword Gai, are made because Netflix pay the bills. If not, they probably would never be made because the Japanese producers wouldn't get enough support been financial backing or audience support. For the originals future, Cannon Busters is a American cartoon Netflix will make in Japan in studio Satelight.

At this point I wonder if it’s even worth covering Ellation. It’s not like we cover Netflix’s non-anime programming. There’s no articles about Luke Cage or Bojack Horseman because as good as both of those shows are, they aren’t anime. It’s clear one of the strategies in place is the old “No publicity is bad publicity” adage and that our constant arguing keeps the show fresh in our minds to build hype for something Nickelodeon rightfully rejected.

To that end, unless Elation actually, you know, gets an honest to God manga adaptation or something from Japanese directors and writers and not the troll hair brigade here, the staff, respectfully, should just ignore it.

Berman also noted in the interview that the median age of VRV users is 26.

Madoka Magica and Keijo!!!!!!!! were very popular and have a all-female cast.