Forum - View topicHow Creative Original Anime Get Made with Takayuki Nagatani
|
Goto page 1, 2 Next Note: this is the discussion thread for this article |
| Author | Message | |||||
|---|---|---|---|---|---|---|
Kougeru
 Posts: 5577 |
|
|||||
|
Interesting interview that reaveled a few things I don't like.
Catering to "overseas audiences" almost never works out well. It should just stop. Most people watch anime because it's Japanese. It's unique when it's aimed at the Japanese audience. Jaeger also isn't "upcoming". Ironic that a show aimed at "overseas audiences" is being region locked by Netflix. |
||||||
|
||||||
|
Zeino
Posts: 1098 |
|
|||||
|
Mr. Nagatani sounds exactly what the anime industry needs for the most part. (The one chief objection being catering to overseas audiences as pointed out is a dangerous tight rope to walk on that more often than not doesn't pay off.) He wants to promote new talent that has show itself to be quite promising and put more anime original works out there. That is the best sort of production possible. Just please make more thing like Shirobako and Flip Flappers and less like Citrus.
|
||||||
|
||||||
|
RangerDanger
|
|
|||||
Citrus isn’t an anime original though. |
||||||
|
Ronie Peter
Posts: 120 |
|
|||||
|
I am convinced that for a studio, be it small or large, the greatest achievement is when your original work becomes a hit. Original series that achieve a global popularity is actually the "cherry on the cake" of any studio. I like Nagatani for this, because it can end up helping studios both big and small to achieve that happiness.
Now about White Fox: I'm really sorry about the studio, for not being able to make an original that would at least gain a bit of notoriety. I tried to find out about his original but I saw that it really went unnoticed. It is a pity. It's a studio that really deserves an original that gives you a credential. White Fox is one of the most exemplary studios out there, worrying about its employees, more than most studios. I think they deserve a job that gives them joy. About 3hz I really love their desire to want to create originals, but I hope they stand as a studio because they are still very new. There are other studios like Pine A. P. Works is a pioneer in this area. He managed to leave behind Gainax, which has already been reference in originals. No studio does more original than P.A Works. I think that the union of the studio with Nagatani really was predestined. |
||||||
|
||||||
Blackiris_
 Posts: 536 |
|
|||||
|
Thank you for this very insightful interview, Callum. It’s good to see some more light being shed on producers, the often unsung heroes of anime productions. People may (and should) know Masao Maruyama or Toshio Suzuki, but there are so many more producers out there and they have an enormous influence.
"Catering" to any audience rarely produces works that could really be called creative or unique. But I’m not seeing any issues in producing something with a certain audience in mind – if the staff members themselves really want to make that work. The problem is always the "catering" – if it goes too far, the work is always in danger of loosing its sense of identity, something that happens to a lot of shows regardless of the audience they were catering to. (Though catering can also be very successful and creativity certainly is no indicator of financial success.) So overall I can’t really understand the sentiment that anime that are produced with Western audiences in mind are more likely to be bad or less unique than anime produced with only Japanese audiences in mind. Both types have given birth to a fair share of great and utterly forgettable titles. |
||||||
|
||||||
|
Lemonchest
Posts: 1771 |
|
|||||
We were truly starved of those before he came along 
|
||||||
|
||||||
MarshalBanana
 Posts: 5500 |
|
|||||
|
The Canipa Effect did a great video on this
|
||||||
|
||||||
|
Ermat_46
Posts: 740 Location: Philippines |
|
|||||
Netflix don't announce whether they have an exclusive license over the show or not. They just came out on Netflix. In this case, it's the official twitter page for Sirius and Hi Score Girl that announced their December debut on Netflix, not Netflix themselves. |
||||||
|
||||||
Jose Cruz
 Posts: 1796 Location: South America |
|
|||||
Indeed. When I made my top 10 favorite series list I noticed that 90% of the main characters in all 10 shows were between 14 and 18. While I like teenager characters its true that the medium is a bit saturated with characters from this age group. Instead, why not make more stuff like Wotakoi and Aggretsuko which feature adult characters? |
||||||
|
||||||
|
TheCanipaEffect
Posts: 52 |
|
|||||
|
Hi, I'm the author of the article (I'm also The Canipa Effect that was mentioned here) and I thought I should give some context to a few things.
Sirius the Jaeger is made for both overseas and local audiences. It being on Netflix is actually a part of that. Even though it's not simulcast and will be released in bulk this December, it is still targeted at overseas fans. Taito Okiura, Director of Anime at Netflix, explains: "It takes time to create world-class subtitles and dubbed audio for these shows , but in doing so, we hope to serve larger customer needs on a global basis. Our belief is that maintaining this all-at-once format is the best way to serve our global customers needs. We understand there are some fans who want a global simulcast, but we believe that the all-at-once distribution window is best in order to maintain the quality of production." Agree or disagree, that's Netflix's stance on it. There's also some worries about anime being made for overseas viewers in this thread. Kougeru stated that, "Catering to "overseas audiences" almost never works out well." Except a large amount of anime that are popular globally are series that were made with an overseas audience in mind. Catering to a global audience doesn't mean diluting content, it just means being aware that the audience you are serving is global. This affects more than story development as well. For example, the animation of My Hero Academia was produced by Bones because Toho Animation found that Studio Bones was popular overseas. Anime production has changed a lot and with a huge portion of anime revenue now coming from China and the USA, producers need to keep a global audience in mind. This doesn't mean removing Japanese culture or mannerisms from anime, but can often just mean "Paying more attention to global licensing" or "Debuting the first episode of our anime at Anime Expo" or "Finding ways to interact with our global fanbase." Making anime with a global appeal isn't new and today, it's the norm rather than the exception and it can mean great things in regards to licensing and marketing. |
||||||
|
||||||
Kadmos1
 Posts: 13615 Location: In Phoenix but has an 85308 ZIP |
|
|||||
|
"B The Beginning" was uploaded to the various Netflix versions roughly the same time, outside of time zone differences. Netflix should do this method for most of their anime. Sirius the Jaeger's delay-cast is a reason why I don't feel guilty watching pirated versions of it.
|
||||||
|
||||||
|
MarshalBanana
Posts: 5500 |
|
|||||
|
||||||
|
||||||
|
configspace
Posts: 3717 |
|
|||||
Space Dandy is the most notable recent anime that was created to cater to overseas markets. Others in the past were Blood the Last Vampire and Afro Samurai Ironically the most popular series are the ones that are NOT specifically created to target western markets (I refer specifically to story development). They just happen to appeal to other audiences and that's how it should be. Most of these are adaptations. You can't tell me that mangaka are told by their publisher to change things so that Amercians would like it for their serialization? Or that Fate universe writers and original VN creator thought, hmmm what would westerners like? |
||||||
|
||||||
|
Lemonchest
Posts: 1771 |
|
|||||
|
You lot know that "International audience" doesn't just mean the USA, right? Plenty of shows get tweaked to increase appeal for international distribution, whether that's in China, South America, the USA or Europe etc. Indeed, with Japan's population & especially the core child-teen audience shrinking rapidly, they have no choice but to try to sell their wares abroad. Studios like Kyo Ani that produce maybe one show a year aimed at a specific section of the adult audience can survive on the domestic audience alone; but for the big fish, Japan has long since become too small a pond to swim in.
|
||||||
|
||||||
|
TheCanipaEffect
Posts: 52 |
|
|||||
Most people don't realise when anime is being targeted at a global audience because most anime is made that way. It doesn't need to be super obvious like Panty & Stocking or Heroman. Anime creators already know that anime is popular, all they need to do is not alienate their overseas audiences and be available to overseas audiences conveniently.
Westerners and Japanese people really don't differ that much on what they like. Also, as Lemonchest said, "international audience" doesn't just mean America. And yes, some mangaka do create stories that have global appeal. That doesn't mean they're making stories about "Johnny America going to save the day from all the Russians who have stolen our precious supply of hot dogs and Coca Cola™!" But it might be a story about superheroes, pirates, zombies or ninjas, concepts that appeal broadly. It's not a case of "What will international fans like?", but more "Maybe we should change this part of the story, because international fans won't understand it." Japanese creators know that people all across the world like anime, so it's not like you'll find concious attempts to change it. Rather, you'll just see smarter licensing and streaming deals, and larger companies avoiding concepts that don't translate as well (But even that has exceptions!) |
||||||
|
||||||
 |
All times are GMT - 5 Hours |
|
|
|
Powered by phpBB © 2001, 2005 phpBB Group