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Spring Anime 2012 II | Welcome Home Eureka

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Instro

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Ando's career before Cannan was doing key animation on great projects like Magnetic Rose, directing episodes of great shows like RahXephon, and finally directing his very own tour-de-force action movie. Shinichi Omata's career before Sankarea was being animation producer on various random hentai and storyboarding on shows like Astarotte's Toy and Denpa Onna. There's clearly a huge disparity in experience and skill level here. That Omata was able to make the episodes of Sankarea he directly worked on as good as they were shows that he has a lot of untapped talent; the fourth episode shows that he isn't yet able to harness that talent well when supervising others. My hope is that this will be a learning experience for him, and he'll be able to do a better job on his next project.

Hey man, Bondage Mansion and Office Affairs are quality works.
 

Narag

Member
Angel Beats 6

Liked the brief scenes with Angel and lineart.
Carnage was a bit out there as it a departure from the cartoon violence depicted up until now. Guess that's an easy way to sell a new antagonist. It shouldn't have mattered since they can't die but whatever.

Hinata's initial comment to Otonashi in the rain was bizarrely hilarious too for how out of place it was. Speaking of Otonashi, he sure sacked up this ep.
 

jman2050

Member
Storyboarding the beauty that is Denpa Onna can be considered nothing but a privilege.

Angel Beats 6

Liked the brief scenes with Angel and lineart.
Carnage was a bit out there as it a departure from the cartoon violence depicted up until now. Guess that's an easy way to sell a new antagonist. It shouldn't have mattered since they can't die but whatever.

Oh when you see how the next episode starts...
 

Envelope

sealed with a kiss
Back to Sailor Moon, I think the only reason the Ice-skating episode existed was so they could cram in as many pantyshots as they wanted without being in trouble. It also had the most blatant, in-your-face pantyshot in the entire series.


*ahem*
 
Back to Sailor Moon, I think the only reason the Ice-skating episode existed was so they could cram in as many pantyshots as they wanted without being in trouble. It also had the most blatant, in-your-face pantyshot in the entire series.


*ahem*

image.php
 

Instro

Member
Back to Sailor Moon, I think the only reason the Ice-skating episode existed was so they could cram in as many pantyshots as they wanted without being in trouble. It also had the most blatant, in-your-face pantyshot in the entire series.


*ahem*

lol...Wait until you get to R.
 

Dresden

Member
hyouka - 01

The waterdrop effects in the OP are horrible.

Something about the way Chitanda is drawn throws me off--she just looks odd. Her figure, her face (especially from the side), her eyes. Otherwise the show looks impeccable. Dull otherwise. Hopefully I'll start caring about everything else in the upcoming episodes.

The cast is giving me Clannad vibes. Dunno if that's a good thing.

kYgpj.jpg


Needed more whores and rape.
 

Narag

Member
Angel Beats 7

I wholeheartedly approve of Naoi using hypnosis for trolling and comedy. I still think the flashback/returned memory scenes are the worst though. I have a hard time paying attention to them as they're overly serious., Otonashi's story was a snore.

Second half was much better as it was back to everyone being either a moron or jerkass.
 

Dresden

Member
Welcome back, Dresden.
Narag said:
Welcome back, Dresden.
thankee
You mean besides the fact that the MC and his bro are voiced by the same guys who voiced Tomoya and Sunohara?
Even with different VAs the dynamic would be too noticeable to miss, I think. Eru also annoys me. Something about the voice. Getting cockroach vibes from her.

I searched for a pic of Okazaki sitting by the window as Sunohara talks to him, but it was taking too long.
 

Jex

Member
Ando's career before Cannan was doing key animation on great projects like Magnetic Rose, directing episodes of great shows like RahXephon, and finally directing his very own tour-de-force action movie. Shinichi Omata's career before Sankarea was being animation producer on various random hentai and storyboarding on shows like Astarotte's Toy and Denpa Onna. There's clearly a huge disparity in experience and skill level here. That Omata was able to make the episodes of Sankarea he directly worked on as good as they were shows that he has a lot of untapped talent; the fourth episode shows that he isn't yet able to harness that talent well when supervising others. My hope is that this will be a learning experience for him, and he'll be able to do a better job on his next project.

It almost feels like I am writing the whole show off after one awkward episode, which feels a little unfair to the guy. It's certainly worth talking about the background of the director in reference to how impressive the first three episodes were.

It's interesting that the director decided to make that the first three episodes should all have a particular tone, one different from the source material. This seems to imply that he, or someone that he's working with, has an ability not just to adapt a manga conventionally but to see the potential that a manga might have if the same material was framed differently.
 

duckroll

Member
There's been talk about the strength of the KyoAni studio brand, and how their animators and staff make the shows they create appealing and popular. But is that really true? I think we've had this conversation before on the thread, but I'll like to reopen the discussion and invite for more contributions from people who might know more about specific franchises to give views.

Kyoto Animation has produced the following works: Munto, Full Metal Panic, Air, Kanon, Clannad, Haruhi, Lucky Star, K-On, Nichijou, and Hyouka. Of all these works, the only original series is Munto. This franchise is not very successful at all. Of the other works, the most popular ones were already popular works before they were adapted. The fact that they got good adaptations simply helped make them even more popular than ever.

It seems to me that KyoAni is a studio where the success of their output doesn't really come from the strength of their studio brand, but rather the benefit of the marriage between the strengths of their production values along wit the appeal of certain specific types of content they choose to adapt. This can clearly be seen in the sense that the works which already appeal to the audiences who go for cute virtual girlfriend stuff end up being their most popular works. On the other hand, the studio has not shown that their "brand name" really extends to being able to sell a ton of anything outside of that genre.

Can we really say that Kyoto Animation is a strong studio brand if people are really only mostly interested in a specific type of content from them, rather than actually supporting and following the studio to see what the staff can do with different types of material?

Sales stats for Kyoto Animation works said:
Munto - Less than 1,000 copies per disc on average between all the OVA, movie, and TV releases. [2 OVA volumes, 5 volumes of TV, 1 movie]

Full Metal Panic - Fumoffu averaged about 9,000 copies per volume, while the DVD box sold an additional 2,684 copies, and the BD box sold another 6,492 copies. The Second Raid averaged almost 5,000 copies per volume, while the DVD box sold an additional 1,813 copies, and the BD box sold another 2,756 copies. The special OVA for TSR sold 11,035 copies. [6 volumes of Fumoffu, 7 volumes of TSR, 1 TSR OVA]

Air - The series sold about 23,000 copies per volume on average. [6 volumes and one special volume]

Kanon - The series sold about 18,000 copies per volume on average. [8 volumes]

Clannad - The first series sold almost 25,000 copies per volume on average, while the BD box sold an additional 4,960 copies. After Story sold about 20,000 copies per volume on average, while the BD box sold an additional 5,155 copies. [8 volumes of Clannad, 8 volumes of After Story]

Haruhi - The first series sold over 40,000 copies per volume on average. The second series (including the infamous Endless Eight) sold about 19,000 copies per volume on average. The complete BD box for the entire series sold another 34,000 copies. The Haruhi movie sold 134,910 copies. The Haruhi-chan spin off series sold about 14,000 per volume on average, and the BD box sold another 3,338 copies. [8 volumes of the first series, 8 volumes of the second series, 3 volumes of Haruhi-chan, 1 movie]

Lucky Star - The series sold about 29,000 per volume on average, and the BD box sold another 8,524 copies. [12 volumes]

K-On - The first season sold over 43,000 copies per volume on average, while the second season sold almost 39,000 copies per volume on average. [7 volumes in season one, 9 volumes in season two]

Nichijou - Less than 3,000 copies per volume on average, tracking outside of rankings making it hard to get a firm number. [13 volumes total, still being released - Vol 11 was just released]


Discuss!
 

Westlo

Member
Don't just assume that Sankarea will stay the same tone as it is in episode 4... but yes he did change the tone for the opening a bit.. a definite improvement.

Kyoto Animation has produced the following works: Munto, Full Metal Panic, Air, Kanon, Clannad, Haruhi, Lucky Star, K-On, Nichijou, and Hyouka. Of all these works, the only original series is Munto. This franchise is not very successful at all. Of the other works, the most popular ones were already popular works before they were adapted. The fact that they got good adaptations simply helped make them even more popular than ever.

Munto came out when they were starting up though so I don't think it's fair to compare that to the rest, yes it did get "rereleased" during Clannad AS but that was just the original OVAs with a few new episodes at the end for a new ending. So nothing major, plus it was really shit... also IIRC K-ON! wasn't that popular until the anime.. and since that is KyoAni's most popular franchise.... (just look @ the movie numbers @ the gate for K-on! compared to Haruhi, it slaughters it)
 

Haly

One day I realized that sadness is just another word for not enough coffee.
I think Kyoani has convinced most regular anime watchers that they do not messed around with their projects. It's not so much as brand name as people associating Kyoani with quality, attention to detail and good production values.

I don't think they are at the point where they can just slap Kyoani on something and expect it to sell, nor do people actually believe that.
 

dimb

Bjergsen is the greatest midlane in the world
Is there really much brand loyalty in general when it comes to anime? I ask this because I don't really know, but it sure doesn't seem like even storied studios have names that mean much to consumers.

I'll be interested to see how Hyouka performs at retail. I would imagine it is pivotal to the direction KyoAni takes, but I just can't see it lighting the kind of spark the studio's most successful titles did.
 
There's been talk about the strength of the KyoAni studio brand, and how their animators and staff make the shows they create appealing and popular. But is that really true? I think we've had this conversation before on the thread, but I'll like to reopen the discussion and invite for more contributions from people who might know more about specific franchises to give views.

Kyoto Animation has produced the following works: Munto, Full Metal Panic, Air, Kanon, Clannad, Haruhi, Lucky Star, K-On, Nichijou, and Hyouka. Of all these works, the only original series is Munto. This franchise is not very successful at all. Of the other works, the most popular ones were already popular works before they were adapted. The fact that they got good adaptations simply helped make them even more popular than ever.

It seems to me that KyoAni is a studio where the success of their output doesn't really come from the strength of their studio brand, but rather the benefit of the marriage between the strengths of their production values along wit the appeal of certain specific types of content they choose to adapt. This can clearly be seen in the sense that the works which already appeal to the audiences who go for cute virtual girlfriend stuff end up being their most popular works. On the other hand, the studio has not shown that their "brand name" really extends to being able to sell a ton of anything outside of that genre.

Can we really say that Kyoto Animation is a strong studio brand if people are really only mostly interested in a specific type of content from them, rather than actually supporting and following the studio to see what the staff can do with different types of material?




Discuss!

1) Why has there not been a second season of Lucky Star?

2) Nichijou's failure is truly tragic, and doesn't say great things about anime fans. (Not fanservicey or full of otaku humor, and apparently a comedy won't sell...)

Oh, and I do find it interesting that Air outsold Kanon. I presume it's because Kanon was a remake, so not everyone got it because there had been another version just a few years earlier, while Air, of course, was new.
 

Jex

Member
It seems to me that KyoAni is a studio where the success of their output doesn't really come from the strength of their studio brand, but rather the benefit of the marriage between the strengths of their production values along wit the appeal of certain specific types of content they choose to adapt. This can clearly be seen in the sense that the works which already appeal to the audiences who go for cute virtual girlfriend stuff end up being their most popular works. On the other hand, the studio has not shown that their "brand name" really extends to being able to sell a ton of anything outside of that genre.

Can we really say that Kyoto Animation is a strong studio brand if people are really only mostly interested in a specific type of content from them, rather than actually supporting and following the studio to see what the staff can do with different types of material?

Unfortunately I am not familiar with many of the franchises that they've adapted into anime but just going off those sales numbers there looks to be a fairly close correlation between the popularity of the original source material and the popularity of the adaptation. I suppose the question is, would those adaptations be so popular if it wasn't for the high quality production values that KyoAni brings, e.g. would a Haruhi from a different studio have done as well? I assume not.
 

Articalys

Member
Am I wrong in assuming that Bakemonogatari and Madoka did higher numbers than K-ON!?
Individual volumes, sure. Overall K-ON probably sold more, considering the number of releases.

Looks like it happened back in 2010, even. I doubt the BD Boxset sales for Bake changed anything.
Going by this massive sales compendium from Animesuki, I extracted the numbers for the relevant series and threw them here:
http://pastebin.com/fVVmMTMs
 

Steroyd

Member
the only really bad fetishes are glasses and tsundere

I don't have a particular fetish for glasses, but I don't understand how that's a negative either. Tsundere speaks for itself.

2) Nichijou's failure is truly tragic, and doesn't say great things about anime fans. (Not fanservicey or full of otaku humor, and apparently a comedy won't sell...)

Nichijou's failings come from that it's better in either gif or a youtube clip compilation than outright buying the DVD/BD's, animegaf alone is a good example of this.
 
Air was also a remake! Of the movie!

But didn't the TV series start airing before the movie showed in theaters?

Nichijou's failings come from that it's better in either gif or a youtube clip compilation than outright buying the DVD/BD's, animegaf alone is a good example of this.

That would only be true if it wasn't one of the funniest comedy animes around, which it is...

Was K-ON! even remotely popular before KyoAni adapted it?



Not to mention that K-ON would've slaughtered both of them combined in merchandise sales.

I think KyoAni basically made K-On, yeah.
 
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