 Animation Studio Artland Inc. announced on Friday that it has hired a lawyer to assist the company with consolidation of its corporate debt, which stood at 298.84 million yen as of December 2016.In an interview with credit reporting agency Tokyo Shoko Research, Artland president Kuniharu Okano denies reports that the company has suspended its business operations. According to Okano, Artland sent a notice to its business partners on Tuesday that it is seeking to consolidate its debts with the help of Tokyo-based corporate attorney Satoshi Kaji. Artland was originally founded in 1978 by the late animator Noboru Ishiguro. In 2006, it became a subsidiary company of Marvelous Entertainment, but later spun off Animation Studio Artland Inc. in 2010 in a management buyout. The original Artland entity was retained by Marvelous as a rights holding company and ceased to exist in 2015 when its operations were absorbed for efficiency purposes. Following a successful 2014, when the studio produced new installments of the Mushishi anime and assisted with the production of Love Live! School Idol Project 2nd Season, annual revenue stood at 289.74 million yen as of November 2015 according to Tokyo Shoko Research. However, annual revenue as of November 2016 fell to 81.36 million yen with a recorded deficit of 93.02 million yen. Teikoku Databank reports that 90 percent of Artland's operating expenses come from outsourcing costs. Okano said he has not ruled out the possibility of civil rehabilitation, Japan's equivalent of bankruptcy protection, which allows a company's management and its debtors to draft a reconstruction plan without entering liquidation. Okano has also received offers for private acquisition by other companies but has not decided whether or not to pursue that route. Source: Tokyo Shoko Research, Teikoku Databank News submitted by AIDSKrillex |
mta_pnFeb 17, 2022 6:10 PM
| so Artland is not technically dead yet eh, good but the fact that they are in debt tells you that they are not hired by a lot of production committees this days, and the real question is are they lacking staff thats why they are not hired by production committees now a days? is the animators shortage really a big crisis there in the anime industry? |
j0x said: is the animators shortage really a big crisis there in the anime industry? Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity.  |
| Can Artland just do a merger with an another company? They already did that one time |
| Twitter and it's consequences had been a disaster for the human race |
AIDSKrillex said: Can Artland just do a merger with an another company? They already did that one time See the last sentence. |
arsonal said: j0x said: is the animators shortage really a big crisis there in the anime industry? Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity. so thats what that graph means, i actually read all that AJA report when you(?) made a news about it here on MAL but my bad memory strikes again and i did not know that its related to the animator shortage crisis at that time |
| Don't really care Artland is very similar to Gainax. Great studio in the past, shitty studio now. |
Xenocrisi said: Don't really care Artland is very similar to Gainax. Great studio in the past, shitty studio now. welp that ignores the right question of why they become shit studios in the first place though and the main reason is they do not have the manpower especially better staff like in-house animators |
| What exactly did they expect when they went from Mushishi to Senran Kagura and Sin: Nanatsu no Taizai ? Let's get real this studio probably won't come up with any other good works in the future so might as well just close it now. Good riddance. |
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j0x said: Xenocrisi said: Don't really care Artland is very similar to Gainax. Great studio in the past, shitty studio now. welp that ignores the right question of why they become shit studios in the first place though and the main reason is they do not have the manpower especially better staff like in-house animators That's pretty much where every studio fails KyoAni is the only studio (as far as I know) that hires in-house animators. Artland should have thought of this method way earlier |
XenocrisiJul 9, 2017 11:54 PM
Xenocrisi said: j0x said: welp that ignores the right question of why they become shit studios in the first place though and the main reason is they do not have the manpower especially better staff like in-house animators That's pretty much where every studio fails KyoAni is the only studio (as far as I know) that hires in-house animators. Artlabd should have thought of this method way earlier ye and ufotable if i remember right those that do most of the animation in-house tend to have high quality animation and deceptive meme of having unlimited budget works even though there is no real news that KyoAni and ufotable have high budget to begin with when it comes to animating shows |
j0x said: Xenocrisi said: That's pretty much where every studio fails KyoAni is the only studio (as far as I know) that hires in-house animators. Artlabd should have thought of this method way earlier ye and ufotable if i remember right those that do most of the animation in-house tend to have high quality animation and deceptive meme of having unlimited budget works even though there is no real news that KyoAni and ufotable have high budget to begin with when it comes to animating shows There's a balance to be made between costs of licensing IP and paying your own staff. In video games for example, it is not uncommon for big name IP licensors to be skeleton crews in their first few ventures. (Warhammer 40K wave of shovelware, anyone?) I imagine it's similar in anime, if you have a big in-house staff you also need your own idea people, to either identify cheap IPs early enough (CD Projekt Red and The Witcher, anyone?) to adapt at a low cost, or to make your own original work that isn't shit. Because giant well known IPs will tend to sell well regardless if they're good or not. This is more a consumer problem than a producer problem, of course. Until people stop supporting shitty cash-ins on their favourite IPs, production is going to remain shit. Kyoto Animation have historically had good idea people who choose lesser-known but highly marketable IP to adapt, or make their own original work sellable enough, to support a big animation staff. You simply can not imagine the 24 carat gold testicles it takes to take a look at the first volume of Nichijou and say "Hey, you see that amateurishly drawn gag manga? Let's take that, and make it our animation masterclass." Not to mention being the money guy to approve it. |
Red_TuesdayJul 10, 2017 12:02 AM
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Red_Tuesday said: j0x said: ye and ufotable if i remember right those that do most of the animation in-house tend to have high quality animation and deceptive meme of having unlimited budget works even though there is no real news that KyoAni and ufotable have high budget to begin with when it comes to animating shows There's a balance to be made between costs of licensing IP and paying your own staff. In video games for example, it is not uncommon for big name IP licensors to be skeleton crews in their first few ventures. (Warhammer 40K wave of shovelware, anyone?) I imagine it's similar in anime, if you have a big in-house staff you also need your own idea people, to either identify cheap IPs early enough (CD Projekt Red and The Witcher, anyone?) to adapt at a low cost, or to make your own original work that isn't shit. Because giant well known IPs will tend to sell well regardless if they're good or not. This is more a consumer problem than a producer problem, of course. Until people stop supporting shitty cash-ins on their favourite IPs, production is going to remain shit. Kyoto Animation have historically had good idea people who choose lesser-known but highly marketable IP to adapt, or make their own original work sellable enough, to support a big animation staff. ye i agree, it depends on the consumers support in the first place, i imagine ufotable for example started doing in-house animation more when their first instagram digital/photo effect Kara no Kyoukai movies become a massive hit and now all their works after that uses the same and animation style and FX |
j0x said: Red_Tuesday said: There's a balance to be made between costs of licensing IP and paying your own staff. In video games for example, it is not uncommon for big name IP licensors to be skeleton crews in their first few ventures. (Warhammer 40K wave of shovelware, anyone?) I imagine it's similar in anime, if you have a big in-house staff you also need your own idea people, to either identify cheap IPs early enough (CD Projekt Red and The Witcher, anyone?) to adapt at a low cost, or to make your own original work that isn't shit. Because giant well known IPs will tend to sell well regardless if they're good or not. This is more a consumer problem than a producer problem, of course. Until people stop supporting shitty cash-ins on their favourite IPs, production is going to remain shit. Kyoto Animation have historically had good idea people who choose lesser-known but highly marketable IP to adapt, or make their own original work sellable enough, to support a big animation staff. ye i agree, it depends on the consumers support in the first place, i imagine ufotable for example started doing in-house animation more when their first instagram digital/photo effect Kara no Kyoukai movies become a massive hit and now all their works after that uses the same and animation style and FX That's a good point, there's always the possibility of a surprise hit early on that, if reinvested well, can give you the freedom to pursue both great in-house production and big name IP licenses. Or, you could get there eventually through stringing together enough successes in a row. |
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| One of the few studio that did not produce trash, and they gone bankrupt. Well done Japan well done. |
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| let me reposted from another comment i already made... Kuma said: it's expected since they haven't really active since reborn ending... when eldlive anounced, i tough it would be them, but they given it to pierrot which already red alert how badly artland doing and even worse when LOGH remade given to IG and even short like shounen ashibe go goma-chan is handed towards no name studio... i've already feel this since mushishi zokushou since it was pretty much their last straw to survive (well, not that bad since it was 6K, but still)... oh, for people screaming industry is dying, no, old model of industries does dying, and anime producer that still rely on them is just waiting their time to dies... the market it self only keep growing... (as showing anime revenue report only keep increasing, but BD sales just keep declining) |
 "If taking responsibility for a mistake that cannot be undone means death, it's not that hard to die. At least, not as hard as to live on." |
arsonal said: good for them. I hope they will still survive. They really need to change their business model though. AIDSKrillex said: Can Artland just do a merger with an another company? They already did that one time See the last sentence. |
| Twitter and it's consequences had been a disaster for the human race |
| RIP ): Thank you for Sin: nanatsu no taizai Atleast thier Twitter account is still up: https://twitter.com/artland_info There is still hope for The seven mortal sins to atleast finish. Still need those last 2 episodes. |
| HACKs! 🤢🤮 |
mehmehperson said: RIP ): Thank you for Sin: nanatsu no taizai Atleast thier Twitter account is still up: https://twitter.com/artland_info There is still hope for The seven mortal sins to atleast finish. Still need those last 2 episodes. "Last 2"? Episode 11 is already out. Episode 12 only in the 29th though. But given how the studio is in such a crisis, I think we should be happy that we are getting the last episode at all. |
arsonal said: j0x said: is the animators shortage really a big crisis there in the anime industry? Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity. Well there isn't a lot of good kids anime these days, which explains why kids anime have been in decline, you basically have your handful of shounen, a few primetime magical girl/idol anime (Precure, Aikatsu, Pripara, and Rilu Rilu Fairlu), and the super long running family anime (Doraemon and Sazae-san) that are good. |
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| They changed a lot after producing Mushishi in 2006 (the same year they became a subsidiary company of Marvelous coincidentally). From LotGH and Macross to Demon King and Nanatsu no Taizai. Haven't seen a studio with a more drastic identity shift. |
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Hoppy said: arsonal said: Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity. Well there isn't a lot of good kids anime these days, which explains why kids anime have been in decline, you basically have your handful of shounen, a few primetime magical girl/idol anime (Precure, Aikatsu, Pripara, and Rilu Rilu Fairlu), and the super long running family anime (Doraemon and Sazae-san) that are good. What are you talking about? just OLM has 12 kid anime series right now. Toei Animation has 6 series, you can say only 5 of those are for kids, but still. Bandai Namco Pictures(the Sunrise kid and family section) with 4 series. You have TMS with around 3, Gallop with 1(Yu-Gi-Oh). Than you have Eiken with Sazae-san, Nippon Animation with Chibi Maruko-chan, Shin-Ei Animation with Doraemon and Shin-chan, and many others. For the ones I talked about it makes 29 series. How there isn't many good kids anime these days? Right now is probably the period or one of the periods with more kids series out there. Please don't conflate huge number of late-night anime with the size of the kid anime, that is an horrible and wrong metric. |
GD1551 said: Hoppy said: Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity. Well there isn't a lot of good kids anime these days, which explains why kids anime have been in decline, you basically have your handful of shounen, a few primetime magical girl/idol anime (Precure, Aikatsu, Pripara, and Rilu Rilu Fairlu), and the super long running family anime (Doraemon and Sazae-san) that are good. If there is a shortage (I don't know because I haven't looked into that) is it really a surprise? From what I gather, anyone not in Sunrise or KyoAni gets paid dogshit and works more than a slave. You're wrong. The people that receive better in average are from Toei Animation. KyoAni and Sunrise never revealed how much their people receive, so this rumours that they receive so well and are one of the better cases in the industry is bullocks. |
| Aren't they owned by Haoliners? and how do you add up debt with outsourcing, what a scam. |
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| That's what happens when anime is made 90% by foreign slaves in SE Asia. |
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jc9622 said: bigivelfhq said: It's not a rumor...Kyoto Animation's staff are paid well but that's all they said. You're right, they never revealed their exact numbers but the fact that KyoAni rarely relies on outsourcing and does all of their work in-house should tell you that they're doing a good job for themselves. Outsourcing and hiring freelancers are a cheap alternative to hiring animators that will work full time for your studio and KyoAni rarely relies on these methods.You're wrong. The people that receive better in average are from Toei Animation. KyoAni and Sunrise never revealed how much their people receive, so this rumours that they receive so well and are one of the better cases in the industry is bullocks. Plus, they're almost always in the production committee so whatever they earn through BD sales and other revenue means goes to them instead of producers paying them like dirt shit. For example, Studio Actas only got the money from the production committee to spend on their project for GuP Film but most of the revenue that the film earned did not go towards Actas since they're not on the committee. While for Kyoto Animation we only have the 'employees earn well', we have the numbers for Toei Animation. Toei also built an entire subsidiary company overseas, it didn't just outsourced work. And it has a union not only for their workers, but also for their freelancers. Also Toei rarely does production committes, but partnerships with 1 or 2 other companies and so receives a lot more from each work You shouldnt see production committe has paiyng bad the contracted animation company,because it isn't, and the value is agreed and decided by both parts. The contract is not a special one, but in fact a normal contract between two entities. Is like you have a home beer maker and you need containers and so you pay a 3rd party for those, not for a percentage of every beer you make. |
ichii_1 said: Aren't they owned by Haoliners? and how do you add up debt with outsourcing, what a scam. Is not scam, payments arent made at the moment the deal is made, but it has a period of time of around 6 to 12 months, in short terms liabilities. Possibly they though they would get the money in that period of time but it not ended being the case. |
FIGHTO ARTLANDO!  |
 “Read as little as possible of critical or aesthetic works. They are either products of a close-minded spirit, petrified and devoid of meaning in their lifeless hardening, or clever verbal games [...]. Works of art are of an infinite solitude; nothing is worse than criticism for approaching them. Only love can grasp them, keep them, be just toward them. Always give precedence to your own feeling against these analyses, these reviews, these introductions. [...] You must let every impression, every seed of feeling, ripen within you, in the dark, in the inexpressible, in the unconscious, those regions closed to understanding. Wait with humility and patience for the hour of the birth of a new clarity. Art demands of its faithful followers as much as of its creators.” — RAINER-MARIA Rilke, Letters to a Young Poet (letter dated April 23, 1903). |
bigivelfhq said: ichii_1 said: Aren't they owned by Haoliners? and how do you add up debt with outsourcing, what a scam. Is not scam, payments arent made at the moment the deal is made, but it has a period of time of around 6 to 12 months, in short terms liabilities. Possibly they though they would get the money in that period of time but it not ended being the case. It is hard to recover from that deficit, sadly the industry, in general, isn't going well and it is evident due to all the economical changes around. |
Reply to arsonal
j0x said:
is the animators shortage really a big crisis there in the anime industry?
is the animators shortage really a big crisis there in the anime industry?
Yes. The 2016 industry report published by the Association of Japanese Animations shows what this means. Production capacity of TV anime actually declined between 2014 and 2015 and is not likely to return to its previous peak capacity.
| @arsonal previous peak capacity...!? |
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