Forum - View topicAnswerman - How Will Netflix Producing Anime Change the Industry?
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Beatdigga
 Posts: 4473 Location: New York |
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Yeah, that’s the thing. When Netflix makes original animation, we get Castlevania where Trevor drops so many F-bombs I was pretty sure that was his subweapon instead of the cross boomerang. If anything there’s gonna be more boobs, more violence, and more foul language because that’s the popular image of anime. It’s “adult”. |
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mangamuscle
Posts: 2658 Location: Mexico |
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Netflix already learned their lesson (Don't fix what ain't broken) with Glitter Force, they censored it and the series bombed, so I doubt they are going to change a winning formula like Coke did in the 80s
Toto we're not in kansas anymore.
Follow the yellow (gold) brick road. Money will dictate the way, if it ain't profitable you can bet it will not be done.
I think this is unlikely (unless Netflix is the only production committee member) because japanese have a hard time changing their modus operandi.
The original production committe *is* somebody and no doubt they need those numbers to know how much to ask for the oveseas disc licensee deal of netflix "originals" like The Seven Deadly Sins.
Quite unlikely. Let's not forget that said committees are not only about money. Netflix will be unable to get japanese singers and musicians for the op/ed sequences (and maybe even for the OST) which means they will need to hire american (which means they might have to work with a small talent pool like the dubbing talent pool). Also, forget about any franchises owned by the big publishers, that includes anything that has had one anime season. That leaves Netflix with truly original (reads as "untested") series and/or old series that might still appeal to the current generation (like Bastard!! or Hayao's Miyazaki Nausicaa). Also, I would not be surprised if there is already a memo telling all writers (manga, light novel and even visual novel) that anyone selling their rights to netflix will cease to be published. Maybe it will happen as a knee jerk reaction, but another thing that characterizes japan is making a common front (some people call it "stonewalling") against a perceived threat and netflix trying to remove the so called "middlemen" would no doubt reduce the money japan receives as a whole.
Which means as soon as hidive contract expires they will be left out in the cold, whether amazon continues AS or melds it into prime will not change the fact that they are no longer expending huge sums without some kind of guarantee of reimbursement. The stated goal was to involve Funimation [is] to make one big, vertically integrated worldwide anime company. I think that is a long term goal, the real goal is to start distrubuting funi's titles worldwide, that is a low hanging fruit that will deliver more income in the short term. So companies like animelab in australia should start thinking from where are they going to get future anime licenses. |
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bleachj0j
 Posts: 925 |
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Did Netflix have anything to do with that? Wasn't that a Saban product? |
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EricJ2
 Posts: 4016 |
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Yep, Saban dubbed/distributed, and Netflix bought, because there wasn't anywhere else for syndicated kiddy-TV to go. Don't think we'll be hearing much more from Saban after that. (And you do know that New Coke is still around, only now as the flavor of Diet Coke? Which is why Coke Zero had to be created.) |
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TarsTarkas
 Posts: 5901 Location: Virginia, United States |
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Who knows what will happen. There are some truths to both sides.
Personally, I don't think there is a market in the United States for anime targeted at mainstream audiences. Non Disney animated works (excluding American cartoons) simply do not thrive. Certainly, some anime targeted to the proper American age brackets could do well as cartoons, and some currently are, but that is not what we are really talking about here. I think only time will tell. Though I do believe, that the Japanese will still make their own anime, targeted to their own audiences. Which is good news for us fans who want Japanese anime, and not westernized anime. For those who think the Japanese cannot sustain such levels of production. I think the Japanese being Japanese, will simply farm out most of the grunt work overseas for American co-productions, while retaining most of their staff for simply Japanese productions. |
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Gatherum
 Posts: 773 Location: Aurora CO |
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...And this is bad, how? Like, I get the point you're trying to make, but your examples aren't really all that good. I wasn't in a particular hurry to get rid of fan service in anime, but not so much to preserve it, either, and it's precisely because of a multitude of social concerns--feminist and otherwise. I, for one, would not want the industry in its current state to be scaled in the way Justin is referencing; we have enough problems on this front as it is. Complete negation of violence is just an unrealistic idea. |
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Zerreth
 Posts: 208 Location: E6 |
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I would like for Netflix to first actually advertise the shows they licensed if they really want to brand it as a "Netflix Original". That'd be nice.
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Gatherum
Posts: 773 Location: Aurora CO |
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The answer is, yes, of course they are, if the market is lucrative enough. To be honest, though, I don't think we ought to be concerned about the volume of anime churned out every year because of the way the industry saturates itself. It goes through these phases where-in multitudes of shows are produced in service to a trope until the appeal of that trope is effectively drained. A few years ago, it was the magic high school trope. More recently, it's been isekai. In each of these instances, you'll have one or two that may stand out for better or worse, but because of how aggressively samey these shows are, the trope all but dies in the space of maybe half a decade. Honestly, it's annoying. I would favour the same volume of shows--or even less--year-by-year if it meant higher production values, greater variety, and, most importantly, deadlines and wages that didn't practically [expletive] kill people outside of Kyoto Animation. |
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BadNewsBlues
Posts: 6135 |
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Competition makes the world go round.....while killing off businesses. |
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Cutiebunny
 Posts: 1757 |
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All this just really reminds me of where we were before the bubble burst. Same concept, just a different form of distribution. Once again, a small group of companies are going to spend stupid sums of money on programing that most likely will not attract the money they're going to get. Amazon, Netflix, etc. will be hoping to recoup the costs through costly memberships, and consumers, like myself, will likely be very hesitant to pay for more than one platform.
I didn't like how things were before the last bubble burst around 2008. Things were stupidly expensive, and you could tell that people were around in the fandom solely because it was the latest and greatest awesome thing around. I also agree with the above comment of that, even though I'd like to hope that the increased cash flow will lead to better salaries for beginning animators, I know that they'll see little, if any, benefit. I will not be surprised if certain distributors buy out certain animation companies or will insist that they'll only license series drawn studios where the distributor will receive some kickback. |
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Chrono1000
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lebrel
Posts: 374 |
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I'm conflicted. On the one hand, this will probably mean more money coming into the industry, but on the other hand I suspect that that money will be funneled toward the kind of series that have historically been successful in the West; in particular, action shows for male audiences. I don't see them funding Kids on the Slope or Chihayafuru or even Made in Abyss. And I also suspect that they will want to "Westernize" their projects; series that have Western funding or influence seem to be disproportionately swayed towards Western ideas of how to depict men and masculinity, for example.
As long as Netflix / Amazon / etc. are minor forces in the industry it won't be a big deal. And if the extra money lets studios do more odd, experimental, or niche series, then that is gravy. But all of this "anime needs to look to a global audience to survive" stuff looks like a recipe for losing the things I enjoy about Japanese media... |
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strawberry-kun
Posts: 302 |
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Because not everyone is you? I enjoy my trashy fanservice. You are really coming off as incredibly selfish and self-important there. It'd be like me saying "I don't like fujoshi shows, so no one should". Or insert any other genre or trope there really. I echo the worries that many are sharing here. I don't want anime to chase any kind of global appeal and lose it's uniqueness. I watch anime because it's different. Most TV shows that air here in the US don't appeal to me much to be honest. |
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EricJ2
Posts: 4016 |
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The problem with the Bubble was that it was the US anime industry itself that was acting goofy, and grabbing up pig-in-a-poke licenses for any series they thought looked trendy and sellable, without getting an idea of their audience first. When it popped, it took Bandai, ADV, Pioneer/Geneon and most of the entire retail anime sales market with it, but now, we're worried about a bunch of clueless carpetbaggers like Netflix and Amazon, that tried to jump into a "side" industry with data from fifteen years ago because they heard it was getting a piece of their action, who are the "suckers" for any Japanese licensor trying to sell a hard-action anime show that needs investors. If Amazon or Netflix get burned by their new Mr.-Toad mania for anime, they just drop their deadweight and go back to what they'd been doing before. ADV couldn't be as lucky, and Sentai had to work its way back up to the new 10's industry the hard way. |
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mglittlerobin
 Posts: 1071 |
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This, I have seen absolutely no advertising for Fate/Apocrypha, one of their Original streaming exclusives, I didn't even see the trailer on Netflix until a few days ago! Last edited by mglittlerobin on Wed Nov 01, 2017 3:56 pm; edited 1 time in total |
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