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/leftyweebpol/ - 2D/Leftist

Weebs of the World Unite!
Winner of the 77nd Attention-Hungry Games
/x/ - Paranormal Phenomena and The RCP Authority

April 2019 - 8chan Transparency Report
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File: d4c751dfa382a64⋯.pdf (3.79 MB, ani-Industry rp 2016.pdf)

File: 14fcfdb0a62f8d3⋯.pdf (260.77 KB, JETRO-market_info_manga.pdf)

 No.1671

I was arguing with a dumbass in another thread but I think the post deserves its own thread. Attached are two pdfs I found with pertinent information. JETRO covers the arrangement of the anime industry (though I think it's outdated), and the other gives us our information on the various revenues and profits of the industry as a whole.

In reality the situation for anime/manga is good–on paper. They've been experiencing rising profits for the past few years, but that doesn't mean the industry is healthy.

https://sotaku.com/anime-industry-report-2016/

>While we are on the topic of an anime boom, we have to borrow a term from the oil industry and talk about peak anime. Have the production companies hit their limit in terms of production, which decreased slightly from the previous year by about 4,000 minutes? In terms of raw numbers, only one more new anime was produced this year as compared to the previous year, with the rest of the bump coming from a larger hold over of older shows. The reason for the slowed growth is due to a lack of capacity in producing and finding spots to air the shows.

As an analogy, we've seen that despite Hollywood's record breaking profits, we haven't experienced a golden age in terms of cinema, either in output or quality. The manga industry has experienced a similar process of mergers and acquisitions as profits vacillate. In the end the cumulative effects are similar. You have fewer independent studios as they conglomerate into larger companies. This allows for the allocation of greater resources, but to less projects. This in turn leads to the same "top heavy" effect of having to throw more and more capital at projects in order to maintain current profits and hopefully produce greater ones. However, a significant enough disruption or an unexpected flop can mean bankruptcy, especially since

http://aja.gr.jp/english/japan-anime-data

The only substantial growth the industry has seen in the past 5 years has been from the oversees market. The US accounts for 12.5% of manga sales and Europe 26%, just a little less than Asia which makes up almost 40%, half of which is China alone. The US and Europe both have their own comics industries, and the year before last was the most profitable comics have been in the US in its entire history iirc. And China is developing its own native manga industry, and because of Communism with Chinese Characteristics­­(TM) can shut off the flow of legitimate manga for any reason, at any time. If they were to do so, that would mean a 20% loss in overseas sales, which for China comes to about Y160B.

Without the foreign market, the anime industry would have experienced no growth at all last year. Overseas sales constitute the only sector of substantial growth. That doesn't exactly paint a picture of a healthy industry. Should the industry face a sudden disruption or contraction, it could be a very bumpy ride. Consider too the Fukushima plant (another good ol' product of Capitalism :^) is still leaking, and 85% of Japan's anime industry is in Tokyo.

Better grab your plastic waifu dolls while the grabbin's good.

 No.1674

File: 25cf43ed1ac94e9⋯.png (318.34 KB, 999x1017, 111:113, 25cf43ed1ac94e993092e0fc9e….png)

In fact, if these numbers are to be believed then the domestic anime industry only grew by three-hundred-million yen last year, which comes out to less than $3M USD

[sweats in anime]


 No.1720

what's your metric for quality?


 No.1723

File: cdfbbddaecc4c92⋯.webm (8.97 MB, 1280x720, 16:9, Falling Rate of Profits.webm)

>This allows for the allocation of greater resources, but to less projects. This in turn leads to the same "top heavy" effect of having to throw more and more capital at projects in order to maintain current profits and hopefully produce greater ones.

The inescapable reality of the falling rate of profit. A big crunch in the industry will come eventually, when the rate gets low enough. Something similar happened 30 years ago with the videogame industry crashing.


 No.1726

>>1720

Quality what? What are you talking about?


 No.1736

>>1726

> we haven't seen a golden age in cinema in terms of output or quality

how are you measuring this? What are you comparing to rise in profit to demonstrate that profit is independent of output/quality.

that's just a quote but it's the core of your argument, and without a way to measure quality it's pure Praxeology.


 No.1755

>>1736

> it's the core of your argumen

It's really not.

http://www.the-numbers.com/market/

Movies released from major studios have declined since the 90s.You can see too by the inflation-adjusted box offices that things peaked in 2002 and have been on a slow decline since then. I haven't even looked to see how many films there would be if you didn't count sequels and remakes. They completely dominate the box offices in 2015 and 2016 though.

https://www.mpaa.org/wp-content/uploads/2017/03/MPAA-Theatrical-Market-Statistics-2016_Final-1.pdf

Despite box office takes staying approximately steady, their value has been on the decline, at least in the Euro/American/African market. Profits from that (if I'm reading this right) are down 4%, while profits from China and Japan exploded 44% between 2012 and 2016. The last year the most significant growth came from Japan and India, surprisingly.

It appears as though the main drivers of this box office growth is inflationary. So, while these studios have been capturing more dollars, those dollars are worth less and less. So, to make up for the loss in profit, they've got to put more money into fewer movies, and those movies, year after year, are the same franchises over and over. Whatever metric you use to define quality, it either hasn't changed in any significant way, or even if you were able to imagine that the quality has improved it doesn't really seem to matter. It's not bringing any more people in–admissions have only managed to stay the same or diminish in the '12-'16 period. If the "quality" has improved, then its to practically no effect, in which case its a cost to cut, and as profitability decreases costs are going to have to be cut. The numbers suggest that film novelty has declined significantly since the 60s: https://www.nature.com/articles/srep02758

So by those metrics, the cinema industry doesn't seem to be very healthy at all, and they're in the same boat as the anime industry. Less new stuff, more old stuff, less profit, greater expense, fewer studios, fewer options, diminished quality. A Star Wars movie every six months until the sun burns out. You're already seeing that kind of thing with Naruto and Shingeki no Kyojin–spinoffs and side stories proliferate. Dragon Ball Z is back. Rurouni Kenshin is back. Lone Wolf and Cub is back.

And none of that is going to change. In regards to cinema, these franchise movies are what's drawing that 11% of moviegoers that make up 48% of box office profits. I would imagine the moe/otaku market functions similarly.

So, like

>>1723

said, a big crunch is coming, and there's really no telling who its going to take with it, so enjoy what's currently going on with anime (or Star Wars or whatever) while it's here, because I doubt it will be for very much longer.


 No.1939

When the anime industry falls, China, Amazon, and Netflix will take over. Mark my words!


 No.3680

File: 6db3cdf0b1f45fb⋯.png (339.67 KB, 1024x403, 1024:403, ClipboardImage.png)

>>1674

A similar (edited) image I found and uploaded on the booru.


 No.3691

Dengist anime when?


 No.3905

File: 15d2432b9c58c7c⋯.png (1.66 MB, 1024x1013, 1024:1013, ClipboardImage.png)

If you don't want Japanese production companies adapting manga series into live-action shows and sell them to Netflix, then support union for Japanese animators and help them make more quality anime series. Workers around the world showing solidarity one and other rather than have artists, to quote, do more work with foreign capital

capitalists are pigs everywhere.

-https://twitter.com/Nishiiterumi1/status/1120335848392646657?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1120335848392646657&ref_url=https%3A%2F%2Ftokusatsumilgrau.blogspot.com%2F2019%2F04%2Fdesigner-japonesa-diz-que-estrangeiros.html

And people wonder why Karōshi is so common in Japan.


 No.3916

>>3905

<that twitter hread

>pls don't work in my industry lol

And what industry is NOT overworked? lmao




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