| I recently watched a Digibri video about all that Netflix/CR/AS/KissAnime stuff where he talks about wanting to help directly who made certain anime. I went to the comment section and the first thing i saw is one random guy with a troll profile pic talking about ethical consumption (In his words, paying the labourers directly) being impossible in the capitalist system. And i just couldn't help but question myself "What does this even has to do with the anime industry?", since i assume some people don't know how it works, i will explain. When certain anime is in it's "pre-production" there is something called "The production comitee", which is a bunch of guys paying for the production of certain anime, expecting profit in the future (For instance, it can be someone from an Action Figure company expecting that such anime will be able to provide a large material and a large market for Action Figures of itself). That being done, you have a budget, but in most part, anime isn't about your budget but how you manange it. The thing is, once they've finished making an anime, then it is broadcasted and earns money through Blu-ray Discs, merchandising and etc, and here is where companies like Crunchyroll or Cartoon Network come in. They will pay so they have the exibition/streaming rights for such anime, why? Because then people can buy licensed Blu-ray discs or merchandising in their respective countries, making, once more, profit for the companied who bought it. So where does your monthly CR subscription comes in? Well, if they see that a certain anime is making a HUGE success, and CR is gaining more subscribers/views because of that, they will profit, which means they will license more anime and if that anime has a second season, they will probably also try to license it, but the thing is: You never "paid" for that anime. The exhibition rights were already paid from CR's money before you even watched it, so in the short run, your money doesn't go to the anime industry, it goes to Crunchyroll, CR's PREVIOUS money is what goes to the anime industry, you watching that licensed anime or not. But the money i use to buy japanese Blu-ray discs goes to the people that make such anime, right? Well... it's a little bit more complicated than that. Just like in CR, if an anime sells a lot, be it via Blu-ray discs, merchandising, streaming or helping sell it's source material, it just mean that the production company behind it will probably produce more anime and that anime has a bigger chance of having a season 2 (It's also more complicated than that, but let's keep this short). But what about the animators? The directors? They have already been paid, that's why they made such anime, they traded their services for money. "So even if such anime profitted lots they still earn the same, thats unfair!" Well, that's a good point, but imagine the contrary: If such anime was a failure and couldn't even pay it's production costs, would it be fair if the people who made it earned less? The thing is, if they stand out, they can renogatiate in future anime for a better payment, why do you think Robert Downey Junior bot paid so much in order to make the new Avengers movie? Because the producers think he is a core part of it and that many people will watch the movie because it has him in it. Same goes for the anime industry in the case of good directors and freelancers (People who will drawn for whoever pays the most). TL;DR: No, buying Blu-ray Discs or subscribing to Crunchyroll doesn't help the industry in the short run, nor the people who did it directly, but it can help in the long run and indirectly. |
| That's called circulation of money. If I buy a product, the money goes to who offers the product. Which in turn gives them the opportunity to purchase more from the producer, who in turn is able to produce the items , that the provider needs to have something to sell. |
| You're a louse, Roger Smith. - R. Dorothy Wayneright This is my fight! No Senpai, this is our fight! - Kojou Akatsuki & Yukina Himeragi  |
| If the production committee earn more money, they will pay the animator, director etc more in future. Remember, anime is still niche market. Crunchy Roll does stated the money you paid does goes back to the publisher. Gao couldn’t reveal to me how much of your Crunchyroll payment goes back to anime publishers because of nondisclosure agreements. But he did say that publishers are “ecstatic” about the revenue they receive, and that publishers probably wouldn’t agree to work with Crunchyroll in such large numbers if they were getting such a bad deal. https://www.otakujournalist.com/where-your-crunchyroll-dollars-really-go-an-interview-with-the-ceo/ |
ZapredonAug 11, 2017 10:05 PM
But it's important to remember that a movie review is subjective;it only gives you one person's opinion. http://www.classzone.com/books/lnetwork_gr08/page_build.cfm?content=analyz_media&ch=30 It doesn't matter if you like LoGH,Monster etc.If you are a jobless or college/school dropout living in your mom basement, you are still an unintelligent loser. Taste in anime does not make you a better person.If elitist don't exist, casual pleb and shit taste also don't exist. |
| I don't know if anyone believed that the staff of certain anime would directly receive money from blu-ray's sell. Buying Blu-Ray discs and even paying CR does help anyway |
| @TheBigGuy @Zapredon That's what i was trying to say, but you were more succint |
| I don't think anyone assumed that the animators or other staff get more money from us buying blu-rays... Who even thinks like that? And more importantly who thinks that people think like that? It's just that through supporting the industry, the companies there will get more money, so they can better afford to produce more anime and pay their staff more. Staff working for a successful series become "more acclaimed" or whatever and can demand for higher wages. |
| I'm not a lolicon, you're just projecting your tendency to lewd 2D characters. If your favourite character is Tsutsukakushi Tsukiko, you are my soul mate. Been a long time since I've been here, I'll continue expressing myself freely and believe everyone should too. My MAL Interview |
thewiru said: A handful of studios are in their own production comitee so for those i'd say it helps directly. I also think it's possible the studio gets a percentage of the sales as some sort of dividents, though there is little info on that.TL;DR: No, buying Blu-ray Discs or subscribing to Crunchyroll doesn't help the industry in the short run, nor the people who did it directly, but it can help in the long run and indirectly. |
 |
| TL;DR pirate shit whole day every day 👌👌👌 |
 |
| Jesus Christ folks, stop making text wall rants... Keep it short and simple. I'm a filthy pirate...but I have bought some stuff, so it's all good. |
--ALEX-- said: Jesus Christ folks, stop making text wall rants... Actually I appreciate it that the OP took the time to express himself well. It prevents unnecessary confusion, and wards off people incapable of reading a text of this length. |
| err you are talking only about minimum guarantee http://goboiano.com/here-is-how-little-anime-makes-from-foreign-distribution/ the anime industry still profits more if a show becomes more successful internationally in the long run so the anime industry do not get a flat profit from international success at all the problem is the production committee itself http://goboiano.com/anime-creators-speak-out-saying-a-slave-revolt-will-come/ since the animators do not get any bonuses or wage increase from a profitable anime show they animated (not produce because the production committees are usually the ones that are funding and producing anime anyway and not the anime studios themselves) that digibro video is good but it has some shitty info like saying go watch anime on kissanime, remember if you are going to pirate them just do torrenting since anime fansubs/webrips are free and runs on donations only while illegal streaming sites exploit anime by profiting through ads and spywares from supposedly totally free fansubs/webrips of anime, torrenting/XDCC is the lesser evil when it comes to pirating anime and lol how do you like capitalism now huh that its all about quantity rather than quality |
| I had a lot of debates about this and honestly to me it seemed more like people want to delude themselves rather than it being them misunderstanding. Cuz even when you clear it up for them they never really changed their stance and just kept deluding themselves so i got bored of discussing this anymore. I don't care anymore really people can say whatever the fuck they want i'll just stick to my pirating services. |
| The beauty of humans is that they say one thing then do another, but at the same time that can also be their ugliest side. |
| In other words, convince investors to pour more money in the project to pay people more. Which is kinda hard because of the Lost Decade https://en.m.wikipedia.org/wiki/Lost_Decade_(Japan) |
| In other words... BLAME THE SYSTEM! The minimal payment for the average japanese professional animator should higher to begin with. That and work places should seek to slowly let go of their traditional production methods in favor of more efficient ones. |
| You are not your body, you are your brain, the "self" that emerges from within it. |
| Well that is the issue that Digibro explains. The whole system is outdated and out of touch with the audience, I mean does the audience really watch on a dvd when the same quality is online where you don't have to butcher your wallet with buying A region free player and overpriced blurays. They should just take a few hints of the gaming industry and/or companies to have a patreon. |
| My personal thoughts on this dovetail a lot with the thread by @j0x regarding the animator shortage crisis. For ease of reference, I suggest anyone interested in my thoughts read j0x's reprint of the article text because these two issues are inextricably intertwined. Part of the problem is the Lost Decades. Ever since the late 1980s, Japan's economy has stagnated. The bevy of natural disasters since the 1990s that caused massive damage (climaxing with the Fukushima disaster), as well as the Sarin Gas Attack have led to the rise of an entire generation of Japanese with a severely eroded confidence in their nation. Declining birthrates and marriage rates have further eroded this confidence as the Japanese mean age steadily rises as the bulk of the population has begin retiring from the workforce to live off of pensions in their twilight years. This all adds up to anxieties about the future of the nation and its national and cultural identity. This has an impact on all domestic industries. There is going to be an inevitable worker shortage--Japan is already dealing with immigration issues since its domestic labor force is no longer being supplemented by foreign workers from the Philippines, China, and Vietnam but gradually becoming dominated by them. The Japanese place a great emphasis on social harmony and preservation of face. This often leads to avoidance of conflict, which is occasionally detrimental when problems that need to be thoroughly debated and discussed arise. The thing is, facing these problems rocks the boat and disturbs harmony. People who stake claims and take up positions can lose face if their suggestions are not taken (or are and the results are lackluster), so nobody wants to put their reputations on the line and are more likely to talk in circles. To top it off, seniority trumps skill and talent, which stifles youthful innovation and causes stagnation within industries as well (which is why some people think Shigeru Miyamoto needs to retire and stop micromanaging game design at Nintendo). For more background on the impact of the Japanese economy on Japanese pop culture, check out W. David Marx's essay series on The Great Shift in Japanese Pop Culture. Although the article is 6 years old and Marx (in personal correspondence) said that he thinks that much of his conclusions weren't entirely correct in retrospect, I think some of his insights into what was going on are still valuable and informative. The animation industry is one that is impacted by these cultural issues. Though South Korea is not really much of a threat to "Cool Japan" and Girl's Generation on Letterman was more awkwardly embarrassing than a cultural breakthrough, K-pop and K-drama has found a niche in the States and elsewhere in the West. The South Korean government is very interested in investing in soft power, having learned from the huge demand for American goods and pop music in Soviet Moscow during the 1980s. South Korean films like Oldboy, The Host, Right Now, Wrong Then, Assassination, and I Saw the Devil have earned massive critical acclaim abroad and K-Dramas are more numerous on streaming services than Japanese dramas. South Korea is keenly interested in not just its domestic market but overseas markets as well. The chaebol (mega corporations like Samsung) routinely invest in their film and music industries in order to help promote their goods both domestically and in foreign markets. The government has put hundreds of billions of won into the domestic film industry to help promote growth there as well. I compare South Korea to Japan because, despite the superficial similarities in culture, the differences between Korean and Japanese society are legion. The Japanese are far more concerned with domestic markets. Although the same can be said about South Korea, their leaders recognize the impact of soft power and want to encourage domestic cultural industries that can make South Korea a culturally international rival to Japan and even the United States. While the South Koreans prioritize their domestic markets they also look outward--the Japanese generally look inward. This contributes to South Korea's sudden explosion into the international scene while Japan seems to be struggling away on life support. Comparing the two nations' attitudes reveals a lot of problems with the Japanese approach--"Cool Japan" is honestly riding the tide started in the late 1970s when the "economic miracle" started bearing fruit. It's being carried by inertia from the 1980s. As for the animation industry in particular, we've seen a decline in the production of original material and less risk taking. Some of the best shows from the 1990s and early 2000s were original, not tie-ins to light novels or manga. Simultaneously, we're seeing a tremendous over-saturation of anime. This may seem like a good thing for the consumer but it actually isn't. Over-saturation has increased the volume of shows that fail to provide a significant return on investment because of the dramatic increase in competition. It has also placed a strain on production-cycles. The industry right now is hurting itself because of shortsightedness. If the same amount of money were invested in half of the amount of shows being produced, yes we'd have less anime but we'd simultaneously have higher-paid workers, more incentive to go into the industry, longer production cycles, and a higher quality of animation overall. Technological advancements in CG have done a great deal in hiding the damage because even though anime may look better than ever, appearances can be deceiving. Although the Japanese are keenly aware of the Western market's interest in anime and the growth of that market over the past 20 years, the industry as a whole is not concerned. Perhaps this will change with Sony's purchase of Funimation. This could lead to a more profitable distribution model that will more efficiently provide funds to the animation industry. |
| Don't question the system. Just keep on pouring more money into it |
 Nico- said: Conversations with people pinging/quoting me to argue about some old post I wrote years ago will not be entertained@Comic_Sans oh no y arnt ppl dieing i need more ppl dieing rly gud plot avansement jus liek tokyo ghoul if erbudy dies amirite |
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