2013-12-10, 17:24 | Link #2341 | |
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2013-12-10, 17:27 | Link #2342 |
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Until now, the end-viewer wasn't actually "their customer" to any large degree. Their customer was TBS or Kadokawa or whoever was funding the show, and whatever value Kyoto Animation added to the franchise would benefit those rightsholders the most. Now, though, they are in the business of directly serving end-customers by managing their own properties and their own media-mix strategy. So this actually allows them to build a customer base that is truly theirs. Of course this means they won't get to pull from the best-of-the-best of Kadokawa's deep pool of known hits, and their new products may not appeal to everyone. Whatever audience they build in the end may not share the same demographics as the audiences that TBS and Kadokawa were targeting in the past, so it's possible even probable that some former "Kyoto Animation fans" will be left behind. It's basically the price to be paid for forging out on your own, though.
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2013-12-10, 18:52 | Link #2343 | |
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A lot of their past work was hit LNs (Haruhi) and hit VNs (the Key trio). So they were arguably taking the cream of the crop from other mediums, so most of the good writing was already in place. But now they're doing more in-house projects, much of which is based off of the writing of relative amateurs. KyoAni is unaccustomed to having to worry about writing quality, and so they used to focus almost strictly on visual quality, which once served them well. So they are being faced with some likely adjustments here. They might want to give more thought to hiring/contracting some good anime writers.
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2013-12-10, 19:39 | Link #2344 | |
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Kanata no Kyoukai and Chuunibyou: Jukki Hanada (also worked on Sola, Steins;Gate, original Rozen Maiden series, Love Live, Kashimashi, scripts on K-On s2, and many others) Free: Masahiro Yokotani (also worked on Hataraku Maou-sama, Maria Holic, Keroro Gunsou, scripts on K-On s2 and many others) Tamako Market: Reiko Yoshida (also worked on K-On, Girls und Panzer, Scrapped Princess, Maria-sama, and many others) Even many of the people who were involved in writing for Hyouka (Gotoh notwithstanding) are still involves in various capacities in all these new shows. So it's not like they've replaced all the "good" writers with hacks or something. They're all veterans who've worked with KyoAni and others on scripts for a variety of anime. So if you go to them like "you need to hire better writers", it's not like they're not picking from the good pool or something. But every show has its own style and approach driven by its director and the strengths of the source material, so "poor writing" may not actually be a fully-accurate description of the root cause of people not liking the show.
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2013-12-10, 20:54 | Link #2345 | |
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Being able to take an existing narrative in a different medium, and make some changes to it so that it works well as an anime narrative, is a valuable talent, to be sure. But such writers are obviously limited by the quality of the source material that they're working with, which I feel is the main "writing issue" here. And in any event, this talent is a pretty different one from writing something new of your own conception, of course. Basically, my suggestion would be this - Instead of making anime out of "Honorable Mention" stories received in a writing contest, hire anime original writers to write full-fledged anime originals. One or more of the writers you mentioned might be quite capable of that, I don't know. But even if they are, it's different from being able to take somebody else's work and turning it into a good anime.
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2013-12-10, 21:44 | Link #2347 | |||
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I'm also not entirely convinced that the quality of the source material is all that important unless the anime staff decide to adhere to it slavishly.
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2013-12-10, 22:33 | Link #2348 | |
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Join Date: Jun 2012
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What is even more impressive is how they convinced the other members of the production committee of that show to help them invest again considering the lackluster sales. Or maybe they've formed a new committee which remains to be seen. I wouldn't be surprised either if kyoani will go all-in on this one. Either way it's all good efforts. |
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2013-12-10, 22:45 | Link #2349 | |
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It did rubs me in the wrong way. Extremely poor? Really? Well, that's subjective but looking at how Chuu2 and Free! sales, certainly a lot of people are thinking otherwise. |
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2013-12-10, 22:56 | Link #2350 | |
Pretentious moe scholar
Join Date: Oct 2006
Location: Vancouver, Canada
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Basically, since 2008, the really good Kadokawa/KyoAni collaborations were Disappearance and Hyouka. So one movie from a franchise Kadokawa doesn't seem that interested in promoting anymore and a project that draws on Kadokawa's backcatalog in a way that I'm not convinced would be the norm for such a partnership. I'm also not really convinced that what we've seen so far of KyoAni's in house focus is necessarily indicative of where the they plan to take it. Among other things, I expect they're being pretty cautious given how much of their own money is on the line. That may change if and when they build up a cash stockpile. Second, I do think that they're going to eventually start to diversify their source material sources a bit. I don't see the way they've been adapting their catalog in 2012/2013 as particularly sustainable, and I don't think they can make their light novel label attractive enough to authors compared to the big publishers just by holding up the possibility of getting an anime adaptation easily (which is part of the reason why I don't think its sustainable). I'm quite certain that Kyoto is evaluating KnK's poor reception as hard as we are.
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2013-12-10, 23:07 | Link #2351 | |
Skwid Fan
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You can't just judge a show by its DVD sales. There are lots of factors that should be taken into account. |
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2013-12-10, 23:32 | Link #2352 | ||
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2013-12-10, 23:49 | Link #2353 | |||
Bittersweet Distractor
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2013-12-11, 00:11 | Link #2354 | ||
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2013-12-11, 00:29 | Link #2355 |
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Join Date: Jun 2012
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Profits, quality, lasting power, your personal opinion....there are lots of them.
If you're a DVD sales nerd then sure let's say something like Free is a good show. But if you're one of those people that aren't into sports shows or guy-centric shows, then Free is a not a good one. In the end those two people are both wrong in their own ways because they're judging a show whether it is good or not based on one factor alone. |
2013-12-11, 01:47 | Link #2356 | |
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What we're talking, again? |
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2013-12-11, 01:58 | Link #2357 |
Lets be reality
Join Date: May 2007
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If KyoAni want to play the profits game by owning IPs they should just contract Gatoh to write/concept an original show for them, chances are it will be better than anything they've turfed out recently.
lol, why would Free be a good show to anyone who follows sales. Just because it sold well doesn't mean you have to like it lol. |
2013-12-11, 02:17 | Link #2358 |
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It's been mentioned many times before but sales =/= quality. Sales has a correlation with popularity sure, but not quality. Sometimes it's even inversely related.
If sales = quality, then well recently well selling series like Sword Art Online, OreImo or Infinite Stratos will be considered great shows... which they are far from that. I know that personally I would watch at the very least would watch almost any Kyoani series over those three, so they are doing something right. Unfortunately, Kyoani series are often no better than "alright" or "mediocre". The problem with Free is simple. It focused way too much on trying to pander to a female audience and its character came out as flat cardboard cutouts representing different archtypes designed to appeal to fans of certain tropes. The visuals were great, the music was fitting and even the story was sufficient. But oh boy were the characters terrible, and sports series often double up as character dramas, and Free sucked on that front. Kyoani has a tendency of reusing the same type of jokes, gags and character traits in every one of their series, only differing in intensity, and it completely backfired in Kyoukai no Kanata, which essentially feels like Shakugan no Shana but with accentuated moeblobs and goofiness. |
2013-12-11, 02:47 | Link #2359 | ||
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I never got into Lucky Star, but - with the excaption of the slapstick and violent jokes - I actually enjoyed Nichijou. In fact, when I look at all the shows that made KyoAni interesting to me, I find that with one exception (Clannad & After Story), have one thing in common: Kodakawa on the production committee. I dropped K-On, because it bored me. Neo KyoAni seems to take its cue from K-On. Oddly enough, the one show that didn't annoy me all that much is the one that everyone in here seems to rag on: Tamako Market. I moderately enjoyed this one. (I dorpped Free; I wish I had dropped Chuunibyou; and I'm barely hanging onto Kyoukai no Kanata.) Taste is taste, and there's something in this new KyoAni that rubs me the wrong way. I wish them well, but KyoAni is no longer a studio I watch out for. Quote:
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2013-12-11, 03:12 | Link #2360 | |
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Join Date: Dec 2006
Age: 38
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So please let's not go down that road. I like the idea of KyoAni making their own stuff, but I have to like it. That's baseline requirement if they want me to watch their shows, they won't garner any sympathy from me just because they're branching out on their own. |
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