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configspace wrote:

... I don't see anything wrong with the idea of offering creative input as an incentive because essentially your later statement of "After all, everyone's buying in because they believe in that artist's vision." results in the same idea. The idea of a empowering the fan to support an artist isn't to support the person, it's to support what he produces. In the regular non-investment/patronage market, the same process still effectively takes place (except with more risk)

Yes, and I would want an assurance that the projects I am micro-investing in are not going to get mired down because somebody who I do not know and had no idea were going to be involved in the creative side of the project had four figures to toss around thought that they were buying the right to peer over the artists shoulder and mess things up.

For crowdfinancing, the difference there is the crowd. There's one artist, or a group under the final direction of one director/conductor, and while there may be a variety of views about what that artist's "artistic vision" may be, when you lock in to support that if the project goes ahead, what you are locking in to support is that project, even if it turns out to differ wildly from what you imagined it to be.

And it will disappoint some backers, that being the nature of a variety of views of what the artist's vision is, versus the fact that there is only the one artistic vision to go around, and indeed some of the views will contradict each other ... and given the internet, that disappointment will lead to loud and angry declarations that "I will never again support anything done by person X" ... and loud arguments between those who still support the artist and those who were disappointed ...
... but the test is whether something was delivered, and the actual promises made were fulfilled. A difference between how one crowdfinancier thought it should turn out and how it turned out is not the basis for getting their money back.

Creative input for crowdfinancing beyond such input as the artist solicits, that's a recipe for a mess and, with too many rights to creative input spread too widely, a recipe for failure of the project.

And, after all, if the person who wants creative input can convince enough people of the value of their creative input, they can help form a group to pursue a project and be among those seeking crowdfinance.

Shows I might like to see:
Lensman (I know, the movie wasn't that good, but I'd still like to see the TV series)
Cat's Eye (second half and reprint of first half)
Saint Seiya (second half)
Ambassador Magma/Space Giants live (with both the Japanese version and dub. A lot of people saw this as kids and not putting this on DVD is like not putting Voltron.)
Sukeban Deka live (movies already licensed for a while)
Eko Eko Azarak live (movies already licensed for a while)
Karula Mau (how did this ever get missed?)
Oishinbo

This doesn't count series which I know are in licensing hell, like Sailor Moon and Yamato.

Heh.. if we are going with classics.. my oldest sister will sell her soul for a legit copy of Marine Boy Embarassed

While region locking is always a shame, I'll be happy to at least have the ability to stick a note on a given show to say I want to watch it. Also happy to contribute for R1 DVDs if required - it's a bit much at this stage to expect R4 DVDs to be made!

I'm hoping it'll at least end up similar to Crunchyroll in that some shows are available in more regions and others are not. At least then I can get some streaming going! Sam - is it possible for a $$$ figure to be put on streaming for international users? Not sure how much that could be exploited or how possible it is (especially from a rights POV). Worth asking though!

Project sounds amazing, best of luck to everyone involved. I'll be keeping an eye on this for sure!

Zalis116 wrote:

I still have to wonder about cases where CR or whoever goes back and picks up a show from a few years prior for streaming. Stuff like Venus to Mamoru, Magicians' Academy, H2O ~Footprints in the Sand~, Canvas 2, and various other mid/late-00s anime that never got picked up for R1 DVD release. From what I recall, titles in that situation still don't have translated lyrics on CR, even though there's no immediate time constraint. Is the extra approvals work and cost still not considered worthwhile?

I think a lot of the stuff from that era that was added to the back catalogue, mostly from Kadokawa, was done on a shoestring (there is no promotional aspect to the streams, they're there purely for the pennies) so they probably weren't looking for any extra hassle or expense.