Forum - View topicNEWS: Netflix Announces New Partnerships With NAZ, Science Saru, MAPPA, Studio Mir
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Pokenatic
 Posts: 563 Location: Neo Venezia |
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Well, guess that's more anime that gets their word of mouth neutered from the 3 month delays. Honestly, what's the anime that held up the best from its buzz getting muted by Netflix's archaic strategy? Violet Evergarden?
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Cardcaptor Takato
 Posts: 4821 |
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While I would prefer simiulcasts for Netflix shows, at the end of the day none of us know what kind of impact the binge watch model has on these shows because they don't put out any actual streaming data to tell us. With the limited streaming data Crunchyroll does put out, most of the popular shows are the same old Shonen Jump titles that have been popular for years now like Naruto and MHA and most of the weekly simulcast shows barely register. And Funimation doesn't put out any streaming data either so we have literally no way to actually tell.
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jdnation
Posts: 1998 |
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I don't know if there's any real evidence that it harms the show's reception. If anime fans really wanted to see it day/date, then... there are other places to get that. So I don't think anything is lost in the long run.
As I mentioned above, CrunchyRoll etc. bother to do this, because if they didn't, then there are the pirate sites who will. There's obviously an audience that wants it and they cater to this. It's beneficial for them. Netflix very likely doesn't care for that audience and wants the larger pool. In fact, I'd wager to say that the only main reason Netflix bothers with anime is because they want to be relevant in Japan and Asia. Hence why Netflix broadcasts weekly in Japan. Then they dump it all months later for the Western audience later since they have it and not so much because they think a significant base in the West wants it through their channel. If you're making things for the international market, there's no reason not to have that content available to everyone else. But I believe Netflix does see value in animation, hence why they are funding more CG animated fare and anime. The kid's market is significant. And they know there's an audience for adult animation as well and the big gamer market - hence stuff like Love, Death & Robots, Castlevania and the like. Anime also fits that category, but the larger market doesn't care that much about being dedicated enough to tune in weekly, and just tend to binge. Heck sometimes this might be better as if people can watch episodes back to back then there's a higher liklihood they'll stick with a show and even give stuff a chance that may not grab them in the first episode. So I don't see it as an inherently bad solution, just different. |
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Actar
 Posts: 1074 Location: Singapore |
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Personally not a fan of the binge watch model. (Unless they're crazy good or meme-worthy) there's usually hardly any buzz for the series and so many of them fly under the radar. I really don't think Netflix does a good job advertising their series either. How on Earth does one even go about keeping track of their arbitrary release dates? I don't think they even bother going by the standard anime seasons.
animenewsnetwork.com/interest/2020-07-21/terumi-nishii-netflix-bigger-budgets-haven't-trickled-down-to-actual-animators/.162022 Anime studios are contracted/work-for-hire. They don't reap royalties nor own the IPs for the shows they work on unless they're part of the production committee. |
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AmpersandsUnited
Posts: 633 |
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Considering how often people get offended by anime and all the outrages, that's probably not an entirely inaccurate thing to say. It is pretty "dangerous" to a lot of people going off the reactions out there. But I'm indifferent to to this. Most of Netflix's originals have been misses rather than hits, and if this is more 3DCG stuff It'll be that much harder to get interested in these, but I'm willing to see what they can offer. Hopefully pairing with studios not known for 3D means they're listening to people and going to do more 2D works. |
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SejinPK
Posts: 129 |
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See, that's what I was wondering about. I've seen that info about Netflix budgets not making their way to the animation studios. But from what I understand, those cases have been the typical production committee model, as you mentioned. The way this article came across to me, including mentioning specific production studios, made me curious if these contracts were directly between Netflix and the studios, basically bypassing any production committee. So my question is basically, is that what's going on here? Are the production committees being bypassed via contracts directly between Netflix and the animation studios? And if so, would that translate to more money making its way to the actual animation studios? |
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Cecilthedarkknight_234
 Posts: 3820 Location: Louisville, KY |
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"Coming up with a reply was harder than I initially thought"
Good for Netflix and these animation studios, I hope it works out for the animation studios in the long run. As for Netflix.. I'm not going back, not since a certain movie was put on there "which will not be named." |
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Gina Szanboti
Posts: 11349 |
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The only reason I'm even here is Netflix, due to the mail carrier accidentally dropping someone's disk in my box back when they started. Their DVD shipping allowed me to sample their insanely wide selection of anime before buying a series, and got me totally hooked (hell, I bought my first dvd player thanks to them). But when they started dropping titles and their anime section became a barren wasteland, I finally cancelled my sub in 2012, and it broke my heart since I was a huge Netflix stan.
Their current binge model and dearth of media to own keeps me away. So until those things change, this isn't really good news to me, other than if, and that's apparently a big if, the studios get to keep more of the money and pay their animators. Netflix obviously doesn't miss me, so I guess I'll keep finding their exclusives exclusively elsewhere. 
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Ermat_46
Posts: 725 Location: Philippines |
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The thing is that these projects would not probably air on Japanese TV stations (i.e.: Think of it as like 7Seeds) and will debut on Netflix first. Hence, there's no "delay" between the Japanese premiere and the Netflix release. If that's the case, then I'm perfectly fine with the binge model.
Also, isn't it that the Netflix money received by the studios is mostly used by studios to get out of the red first before they pay their animators well? I miss this site having Answerman column that will talks about this. |
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SHD
Posts: 1752 |
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Yeah, chalk me up to the group that is not particularly thrilled about this. More money going into anime is fine and all, but I have a number of misgivings.
One, the release model. I don't know if Netflix doesn't understand how communities spring up around shows, and how these communities can sustain a franchise, or they just don't care, but... Look, I don't care how you prefer to watch your anime, but with weekly releases there's a buzz, a community, a fandom around the show. People talk about it, people find out revelations and twists at more or less the same time, etc. Those preferring to binge-watch can always do that after the show ends (anecdata, but most people I know who prefer binge-watching don't really care about watching a show immediately when it's out, anyway). Correct me if I'm wrong, but pretty much all of Netflix's anime shows that debuted on the service have pretty much just fizzled out without any particular buzz, the only exception being Devilman Crybaby, and even that was mostly in the Anglophone side of fandom, and because it was Yuasa (more on this later). I know a lot of people in the Japanese side of anime fandom who aren't aware that these shows even exist. Then again, I suppose they're not the target audience (oh, more on this later). Two, Netflix's notorious lack of promotion. No need to explain this, currently I'm watching the show Barbarians (pretty fun) - I hadn't even known it existed were it not for a friend following some dude on Instagram who did something on the show, so he mentioned it in an Instagram post. My friend, having five minutes to kill, watched the trailer and posted it in our chat, and... yeah, basically it's absolutely no thanks to Netflix that I'm watching this show that is on their service. Three, my main beef: almost all of the Netflix-backed original shows I've seen so far, especially the ones debuting on the service, the overwhelming majority, really, are kind of... outdated? "Old-fashioned" but not in a good way? I can't really put it succintly, but they feel like they were created following a checklist of "must have"s created by some white American dude who was really into Adult Swim anime in the '90s and early '00s, and although he hasn't watched much anime since then, he remembers how cool and/or edgy those shows were, and wants to see more like those. And it's not that these shows are all bad, but they're like... infuriatingly behind the times, and feel like a step backward, building on safety in nostalgia and well-worn templates and tropes played completely straight, rather than trying to drive and reward ambition and new ideas. I don't claim to have watched all of these shows, but all of those I watched made me think "this? now? in the year of our Lord 2020???" I'm not saying there are no exceptions, but that's the feeling I'm getting from most of them, especially the ones that debuted straight on Netflix, making me think that they're targeted at a) a very specific type of anime fan (Americans with a particular history with anime, who just want to wallow in nostalgia), or b) a somewhat wider group of casual American viewers who may have some experience with anime, but could be scared away by something more "out there", or c) a little bit of this ("shows like they used to make them!"), a little bit of that ("ANIME IS COOL AND EDGY AND NOT FOR KIDS, YEAH"). In any case, if this is the type of shows I can expect from this partnership, I'm absolutely not looking forward to it. :/ Last edited by SHD on Sun Oct 25, 2020 7:53 am; edited 1 time in total |
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residentgrigo
 Posts: 2419 Location: Germany |
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The quality of Netflix anime isn´t great overall but they occasionally strike gold. GitS SAC_2049 S1 is the best anime of the year for example. Till AoT S4 drops that is. They are also really good with cartoons which Mir makes. Mir alone doing more for Netflix is an automatic win. MAPPA is also a solid studio.
Then we have the fact that this means more work for 4 studios at a bad time for all and more anime on the biggest streaming service in the world. Quite a big win for the industry even if its doubtful that all this money will trickle down to all departments. Or even most. Still, the gatekeeping in this topic is bewildering. |
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SHD
Posts: 1752 |
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And this is where I'll respectfully disagree, and note how GITS:SAC_2049 was one of the most shining(?) example of the issues I have with Netflix anime (see above). As far as I'm concerned GITS:SAC_2049 was a terrible GITS offering, even more terrible as a GITS:SAC sequel, and just bad anime in general. (And not primarily because of the hilaribad animation, I would have put up with that if the rest of the show was any good, but... no. There was one really good episode, the rest was pretty much "wtf were they thinking? were they thinking anything in particular?") As for MAPPA, for me they're hit or miss, but I don't think they have much of a "profile" as a studio making original works just yet, other than "pretty nice animation in general". Whether something they make is good or not (or rather, whether I personally enjoy it or not) tends to depend on the talent involved, and the source material if there's any. |
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Kougeru
 Posts: 5527 |
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I thought it was pretty obvious I was only talking in the context of anime. Delays are nothing compared to the harm Netflix causes. |
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Ryuji-Dono
 Posts: 1210 |
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Even so, that's a gross exaggeration. |
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Redbeard 101
Oscar the Grouch
Forums Superstar  Posts: 16935 |
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I cleaned up a bunch of posts and removed others. Stick to the topic at hand folks. Which is not other movies on Netflix that are not even anime to begin with.
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