[ANIME] trying to enjoy MHA, after 110 episodes its starting to get interesting

The Something Awful Forums > Discussion > C-SPAM > [ANIME] trying to enjoy MHA, after 110 episodes its starting to get interesting

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Good soup!: Nov 2, 2010

Some of the choices for what anime to signal boost with broadcasts in the us has been weird too

No idea why viz doomed Naoki Urasawa's Monster to being on that Chiller network instead of literally anything else, though it may have just been passed on by a few of those other late night blocks

That and Cromartie High School should have both been on AS god drat it, give em both the exposure they deserve

# ? Jan 12, 2021 02:16

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# ? Jun 1, 2024 13:58

Truga: May 4, 2014; Lipstick Apathy

Judge Dredd Scott posted:

can you fuckin believe theyre making Fate Grand Carnival. what the hell

you better fuckin believe it lmfao

# ? Jan 12, 2021 02:20

elaboration: Feb 21, 2020

Truga posted:

you better fuckin believe it lmfao

it owns 100%

# ? Jan 12, 2021 02:24

Hodgepodge: Jan 29, 2006; Can't post for 208 days!

christmas boots posted:

there never has nor will there ever be anything in anime that Gilgamesh didn’t do first and better.

isn't this a plot premise in fate or something?

Truga posted:

meltdown

lol please don't be mean to japan its going through a lot right now

# ? Jan 12, 2021 02:26

Lostconfused: Oct 1, 2008

Hodgepodge posted:

isn't this a plot premise in fate or something?

No, he says that but he is actually a loser that gets owned every time. He becomes more owned and less relevant as the plot goes on.

# ? Jan 12, 2021 02:36

Bro Dad: Mar 26, 2010

christmas boots posted:

there never has nor will there ever be anything in anime that Gilgamesh didn�t do first and better.

i prefer somethng a bit more lighthearted like texhnolyze

# ? Jan 12, 2021 02:36

Hodgepodge: Jan 29, 2006; Can't post for 208 days!

Lostconfused posted:

No, he says that but he is actually a loser that gets owned every time. He becomes more owned and less relevant as the plot goes on.

tbf this is also true as 99% of us who know much about gilgamesh were initially interested because "oh the funny big bridge battle dude from final fantasy"

# ? Jan 12, 2021 02:45

crepeface: Nov 5, 2004; r*p*f*c*

i fell off anime hard for a long time, so the last things i remember watching are kill la kill, the rebuild eva movies (4th coming out soon!? 😱) and... devilman crybaby. basically only stuff i've heard a lot about. i've been meaning to watch paranoia agent, promare and kengen ashura but i've been feeling more like playing an interactive game instead of watching stuff

# ? Jan 12, 2021 02:51

Meme Emulator: Oct 4, 2000

Truga posted:

it's a semi-popular show that gets horny more than once.

https://www.youtube.com/watch?v=oSPKAB70xtg

Oh that wasnt the meltdown post I expected. I was expecting the one that counted how many seconds bare rear end was on screen to prove that kill la kill wasnt that horny

# ? Jan 12, 2021 03:47

Meme Emulator: Oct 4, 2000

crepeface posted:

i fell off anime hard for a long time, so the last things i remember watching are kill la kill, the rebuild eva movies (4th coming out soon!? 😱) and... devilman crybaby. basically only stuff i've heard a lot about. i've been meaning to watch paranoia agent, promare and kengen ashura but i've been feeling more like playing an interactive game instead of watching stuff

just do what i do and only care about one piece

# ? Jan 12, 2021 03:48

Mandoric: Mar 15, 2003

an actual dog posted:

Western interest in anime went through a bubble period in the 00s that popped really badly, leading to a low period from 2008 to 2012 where there wasn't even Toonami on TV. Kill la Kill came out right when the new streaming era had established itself and people really started being into anime again, and it's been regularly available since. Hits a bunch of weird buttons for goons too lol

Honestly, as someone who played both sides of the table back then, I think it was almost purely a commercial correction. You're right that interest was in the process of popping, but interest popping has a long lead time in an industry that works, empirically, around both a consumer's 15-year cycle from 1st grade to college graduation and a producer's 15-year cycle from college graduation to senior creative.

First, interest. Interest is a loving miserable thing to track because you have hard "can't apples:apples this" lines around at a minimum:
* ~1998 broadcast change to cable
* 1999 package soft change from $40/50m tapes to $25/75m DVDs
* 2001 enthusiast-but-cheap change from $8 pirate tapes to free pirate torrents
* ~2005 beginning of the package soft overproduction meta, due to the declining rate of profit setting off a hunt for any possible hit through $5/75m or $25/550m DVDs
* ~2008 beginning of the enthusiast-but-cheap change from free pirate torrents to free pirate streaming
* 2008 dropping from cable for rising-costs rather than dropping-sales reasons
* 2012 beginning of package soft settling in at a middle ground of $75/550m DVDs
* 2013-2014 shift of enthusiast-but-cheap from free pirate streaming to pennies-a-day legit streaming
Within all of these the old category was on an upswing until it evaporated; I'm most familiar with the torrent part and it was not at all unusual in 2009-2010 to see 100k-150k dls of moderate hits at a scale that produced 15-20k in 2006 or 2007, for example.

The commercial process, though. The core problem of the industry is that there are two key contradictions that it's in no one's interest to fully recognize in the US market: there is a low-margin high-volume feeder market vs. a high-margin low-volume core market, and the status of a title on one side of the Pacific says nothing about its status on the other. From this angle:
* Feeder broadcast market petered out in the early 00s, with the shift to cable solidifying both the US market's increased capital-intensiveness and ability to target specific content rather than essentially buying up found footage, and Japan's ability to negotiate prices up.
* Most American-owned side core market companies were overleveraged to begin with--remember, companies like ADV grew out of video rental shops with an Amiga kicking around the back room--and had to leverage themselves even more due to increasing volumes and increasing competition. This led to a death spiral of printing thousands of copies of anything, achieving minimal sellthrough until the discount to $5, and then printing thousands of copies of the next garbage show because the last one eventually sold through.
* Japanese-owned side core market companies could not compete with selling anime as a generic product in this context; Pioneer calls it quits while Bandai attempts to power through until their competition goes bankrupt and prices rebound.
* American-owned side does indeed go bankrupt, but parachutes straight over from "flood with anything" to "flood with low-bid core products as the junior portion of a JV". It stabilizes them, but Funimation (which does eventually JV) can afford to keep prices at a low-margin midpoint through DBZ and its Christian media sideline, TRSI (which does eventually JV) can afford to keep prices at a low-margin midpoint through its distribution arm, and while those two big fish can hold pricing a bit higher and ride the long tail a bit longer...
* It does blow out the "core market equilibrium is $200 a season with lots of tchotchkes" assumption that kept Bandai in. They fold even while growing profitably (somehow, ask me about entire salvage retailer warehouse lanes full of Cutey Honey live-action lunchboxes) because the expectation is growth back to that point and whoops.
* With no one left around fire-saling in hopes of future growth, cable can no longer take its pick of cheap filler and hits the point where it's cheaper to just make ATHF themselves or whatever. "Legit", "discoverable" feeder market disappears completely for a while, and doesn't really come back because cable never had the viewership of broadcast and streaming doesn't have the linear showcaseness of cable.
* Finally, Funi and Crunchy, both JVs at this point (TV Tokyo was in Crunchy heavy before it went to AT&T, and Funi has been gradually eaten by Sony), synthesize "there's no competition in the feeder market" and economies of scale to come up with anime flavors of the modern streaming experience. Which, since it's AYCE, drags core right back down.
* We are here, in the gap which would have been the peak enthusiasm years for people who got pulled in through cable; instead there's just the limited set of ducklings who didn't get in until streaming and the greybeards who've been in since Pokemon was on Fox at 4pm. And of course KLK was an early streaming star for those ducklings; it's visually flashy, made by people with a lot of core market cred, and a straight-up action show in an era where the Japanese core market direction was split between talky esoterica and pop music vehicles.

tl;dr we're probably on a limited upswing of core through 2025-2030 when aging out once again matches aging in, but longterm never going to hit 2000s again because there's never again going to be dull childhood afternoons where your only kid-to-teen choices for the TV are a Japanese video game or broadcast anime to get people in, and prestige poo poo will never again be a product in itself rather than bonus value to a streaming sub.

Mandoric has issued a correction as of 04:27 on Jan 12, 2021

# ? Jan 12, 2021 04:19

Declan MacManus: Sep 1, 2011; damn i'm really in this bitch

Good soup! posted:

Some of the choices for what anime to signal boost with broadcasts in the us has been weird too

No idea why viz doomed Naoki Urasawa's Monster to being on that Chiller network instead of literally anything else, though it may have just been passed on by a few of those other late night blocks

That and Cromartie High School should have both been on AS god drat it, give em both the exposure they deserve

yeah urasawa is criminally underappreciated in the us, probably because the only work of his that got adapted into anime was monster and that got fuckin buried

shame, too, monster would have done numbers given how much people fuckin loved paranoia agent over here

Meme Emulator posted:

just do what i do and only care about one piece

all the weebs in my life try to get me to watch one piece and i just wish they would give it up (luffy)

# ? Jan 12, 2021 04:20

crepeface: Nov 5, 2004; r*p*f*c*

Meme Emulator posted:

just do what i do and only care about one piece

it's too late im reading the fate/stay night and touhou wikis to catch up

# ? Jan 12, 2021 04:23

christmas boots: Oct 15, 2012; To these sing-alongs 🎤of siren 🧜🏻‍♀️songs
To oohs😮 to ahhs😱 to 👏big👏applause👏
With all of my 😡anger I scream🤬 and shout📢
🇺🇸America🦅, I love you 🥰but you're freaking 💦me 😳out; Biscuit Hider

Hodgepodge posted:

isn't this a plot premise in fate or something?

lol please don't be mean to japan its going through a lot right now

it is but I forgot when I said that

Declan MacManus posted:

yeah urasawa is criminally underappreciated in the us, probably because the only work of his that got adapted into anime was monster and that got fuckin buried

shame, too, monster would have done numbers given how much people fuckin loved paranoia agent over here

all the weebs in my life try to get me to watch one piece and i just wish they would give it up (luffy)

Yo-ho-ho this post took a bite of dumb-dumb

# ? Jan 12, 2021 04:29

MonsieurChoc: Oct 12, 2013; Every species can smell its own extinction.

crepeface posted:

it's too late im reading the fate/stay night and touhou wikis to catch up

Come play the gacha game with us.

# ? Jan 12, 2021 04:34

BULBASAUR: Apr 6, 2009; Soiled Meat

Mandoric posted:

Honestly, as someone who played both sides of the table back then, I think it was almost purely a commercial correction. You're right that interest was in the process of popping, but interest popping has a long lead time in an industry that works, empirically, around both a consumer's 15-year cycle from 1st grade to college graduation and a producer's 15-year cycle from college graduation to senior creative.

First, interest. Interest is a loving miserable thing to track because you have hard "can't apples:apples this" lines around at a minimum:
* ~1998 broadcast change to cable
* 1999 package soft change from $40/50m tapes to $25/75m DVDs
* 2001 enthusiast-but-cheap change from $8 pirate tapes to free pirate torrents
* ~2005 beginning of the package soft overproduction meta, due to the declining rate of profit setting off a hunt for any possible hit through $5/75m or $25/550m DVDs
* ~2008 beginning of the enthusiast-but-cheap change from free pirate torrents to free pirate streaming
* 2008 dropping from cable for rising-costs rather than dropping-sales reasons
* 2012 beginning of package soft settling in at a middle ground of $75/550m DVDs
* 2013-2014 shift of enthusiast-but-cheap from free pirate streaming to pennies-a-day legit streaming
Within all of these the old category was on an upswing until it evaporated; I'm most familiar with the torrent part and it was not at all unusual in 2009-2010 to see 100k-150k dls of moderate hits at a scale that produced 15-20k in 2006 or 2007, for example.

The commercial process, though. The core problem of the industry is that there are two key contradictions that it's in no one's interest to fully recognize in the US market: there is a low-margin high-volume feeder market vs. a high-margin low-volume core market, and the status of a title on one side of the Pacific says nothing about its status on the other. From this angle:
* Feeder broadcast market petered out in the early 00s, with the shift to cable solidifying both the US market's increased capital-intensiveness and ability to target specific content rather than essentially buying up found footage, and Japan's ability to negotiate prices up.
* Most American-owned side core market companies were overleveraged to begin with--remember, companies like ADV grew out of video rental shops with an Amiga kicking around the back room--and had to leverage themselves even more due to increasing volumes and increasing competition. This led to a death spiral of printing thousands of copies of anything, achieving minimal sellthrough until the discount to $5, and then printing thousands of copies of the next garbage show because the last one eventually sold through.
* Japanese-owned side core market companies could not compete with selling anime as a generic product in this context; Pioneer calls it quits while Bandai attempts to power through until their competition goes bankrupt and prices rebound.
* American-owned side does indeed go bankrupt, but parachutes straight over from "flood with anything" to "flood with low-bid core products as the junior portion of a JV". It stabilizes them, but Funimation (which does eventually JV) can afford to keep prices at a low-margin midpoint through DBZ and its Christian media sideline, TRSI (which does eventually JV) can afford to keep prices at a low-margin midpoint through its distribution arm, and while those two big fish can hold pricing a bit higher and ride the long tail a bit longer...
* It does blow out the "core market equilibrium is $200 a season with lots of tchotchkes" assumption that kept Bandai in. They fold even while growing profitably (somehow, ask me about entire salvage retailer warehouse lanes full of Cutey Honey live-action lunchboxes) because the expectation is growth back to that point and whoops.
* With no one left around fire-saling in hopes of future growth, cable can no longer take its pick of cheap filler and hits the point where it's cheaper to just make ATHF themselves or whatever. "Legit", "discoverable" feeder market disappears completely for a while, and doesn't really come back because cable never had the viewership of broadcast and streaming doesn't have the linear showcaseness of cable.
* Finally, Funi and Crunchy, both JVs at this point (TV Tokyo was in Crunchy heavy before it went to AT&T, and Funi has been gradually eaten by Sony), synthesize "there's no competition in the feeder market" and economies of scale to come up with anime flavors of the modern streaming experience. Which, since it's AYCE, drags core right back down.
* We are here, in the gap which would have been the peak enthusiasm years for people who got pulled in through cable; instead there's just the limited set of ducklings who didn't get in until streaming and the greybeards who've been in since Pokemon was on Fox at 4pm. And of course KLK was an early streaming star for those ducklings; it's visually flashy, made by people with a lot of core market cred, and a straight-up action show in an era where the Japanese core market direction was split between talky esoterica and pop music vehicles.

tl;dr we're probably on a limited upswing of core through 2025-2030 when aging out once again matches aging in, but longterm never going to hit 2000s again because there's never again going to be dull childhood afternoons where your only kid-to-teen choices for the TV are a Japanese video game or broadcast anime to get people in, and prestige poo poo will never again be a product in itself rather than bonus value to a streaming sub.

lol nerd

# ? Jan 12, 2021 04:44

BULBASAUR: Apr 6, 2009; Soiled Meat

see these walls of text?

And you say KlK isn't good

# ? Jan 12, 2021 04:45

Larry Parrish: Jul 9, 2012; by Jeffrey of YOSPOS

Good soup! posted:

I think it's because when it came out there was the thing about it saving anime and being a game changer or whatever but instead of something like say cowboy bebop, it was just horny annoying cringeworthy ultra anime poo poo that a vocal contingent of anime fans couldn't shut the gently caress up about

theres like 4 animes i actually like because the first ones i saw was cowboy bebop, kiki's delivery service, my neighbor totoro, and stand alone complex lol. the standard for me is set so insanely high that 99% of the genre is basically unwatchable. well, and dbz, but i knew it was stupid as a kid; i basically thought of it as animated power rangers, which also sucked really bad but was cool regardless.

i remember trying to watch inyuasha because it came on toonami and just being like 'god people actually like this...?'

Larry Parrish has issued a correction as of 04:54 on Jan 12, 2021

# ? Jan 12, 2021 04:52

elaboration: Feb 21, 2020

elaboration has issued a correction as of 21:33 on Mar 22, 2023

# ? Jan 12, 2021 04:59

Larry Parrish: Jul 9, 2012; by Jeffrey of YOSPOS

i only watched dubbed anime op. if i hear that mickey mouse voice on an anime i just turn it off. you know what i'm talking about. like vanille from ff13's voice. i can't take it seriously and so as a defense mechanism i just watch poo poo that's dubbed because its less common. also for real subbed anime sucks to watch. the whole point is to look at the cool drawings but i can't do that and read the subtitles.

# ? Jan 12, 2021 05:04

biceps crimes: Apr 12, 2008

Good soup! posted:

Some of the choices for what anime to signal boost with broadcasts in the us has been weird too

No idea why viz doomed Naoki Urasawa's Monster to being on that Chiller network instead of literally anything else, though it may have just been passed on by a few of those other late night blocks

That and Cromartie High School should have both been on AS god drat it, give em both the exposure they deserve

Naoki Urasawa's Monster owns and it sucks that it isn't available anywhere aside from randomly being available on youtube the last time I checked

# ? Jan 12, 2021 05:04

an actual dog: Nov 18, 2014

Mandoric posted:

Honestly, as someone who played both sides of the table back then, I think it was almost purely a commercial correction. You're right that interest was in the process of popping, but interest popping has a long lead time in an industry that works, empirically, around both a consumer's 15-year cycle from 1st grade to college graduation and a producer's 15-year cycle from college graduation to senior creative.

First, interest. Interest is a loving miserable thing to track because you have hard "can't apples:apples this" lines around at a minimum:
* ~1998 broadcast change to cable
* 1999 package soft change from $40/50m tapes to $25/75m DVDs
* 2001 enthusiast-but-cheap change from $8 pirate tapes to free pirate torrents
* ~2005 beginning of the package soft overproduction meta, due to the declining rate of profit setting off a hunt for any possible hit through $5/75m or $25/550m DVDs
* ~2008 beginning of the enthusiast-but-cheap change from free pirate torrents to free pirate streaming
* 2008 dropping from cable for rising-costs rather than dropping-sales reasons
* 2012 beginning of package soft settling in at a middle ground of $75/550m DVDs
* 2013-2014 shift of enthusiast-but-cheap from free pirate streaming to pennies-a-day legit streaming
Within all of these the old category was on an upswing until it evaporated; I'm most familiar with the torrent part and it was not at all unusual in 2009-2010 to see 100k-150k dls of moderate hits at a scale that produced 15-20k in 2006 or 2007, for example.

The commercial process, though. The core problem of the industry is that there are two key contradictions that it's in no one's interest to fully recognize in the US market: there is a low-margin high-volume feeder market vs. a high-margin low-volume core market, and the status of a title on one side of the Pacific says nothing about its status on the other. From this angle:
* Feeder broadcast market petered out in the early 00s, with the shift to cable solidifying both the US market's increased capital-intensiveness and ability to target specific content rather than essentially buying up found footage, and Japan's ability to negotiate prices up.
* Most American-owned side core market companies were overleveraged to begin with--remember, companies like ADV grew out of video rental shops with an Amiga kicking around the back room--and had to leverage themselves even more due to increasing volumes and increasing competition. This led to a death spiral of printing thousands of copies of anything, achieving minimal sellthrough until the discount to $5, and then printing thousands of copies of the next garbage show because the last one eventually sold through.
* Japanese-owned side core market companies could not compete with selling anime as a generic product in this context; Pioneer calls it quits while Bandai attempts to power through until their competition goes bankrupt and prices rebound.
* American-owned side does indeed go bankrupt, but parachutes straight over from "flood with anything" to "flood with low-bid core products as the junior portion of a JV". It stabilizes them, but Funimation (which does eventually JV) can afford to keep prices at a low-margin midpoint through DBZ and its Christian media sideline, TRSI (which does eventually JV) can afford to keep prices at a low-margin midpoint through its distribution arm, and while those two big fish can hold pricing a bit higher and ride the long tail a bit longer...
* It does blow out the "core market equilibrium is $200 a season with lots of tchotchkes" assumption that kept Bandai in. They fold even while growing profitably (somehow, ask me about entire salvage retailer warehouse lanes full of Cutey Honey live-action lunchboxes) because the expectation is growth back to that point and whoops.
* With no one left around fire-saling in hopes of future growth, cable can no longer take its pick of cheap filler and hits the point where it's cheaper to just make ATHF themselves or whatever. "Legit", "discoverable" feeder market disappears completely for a while, and doesn't really come back because cable never had the viewership of broadcast and streaming doesn't have the linear showcaseness of cable.
* Finally, Funi and Crunchy, both JVs at this point (TV Tokyo was in Crunchy heavy before it went to AT&T, and Funi has been gradually eaten by Sony), synthesize "there's no competition in the feeder market" and economies of scale to come up with anime flavors of the modern streaming experience. Which, since it's AYCE, drags core right back down.
* We are here, in the gap which would have been the peak enthusiasm years for people who got pulled in through cable; instead there's just the limited set of ducklings who didn't get in until streaming and the greybeards who've been in since Pokemon was on Fox at 4pm. And of course KLK was an early streaming star for those ducklings; it's visually flashy, made by people with a lot of core market cred, and a straight-up action show in an era where the Japanese core market direction was split between talky esoterica and pop music vehicles.

tl;dr we're probably on a limited upswing of core through 2025-2030 when aging out once again matches aging in, but longterm never going to hit 2000s again because there's never again going to be dull childhood afternoons where your only kid-to-teen choices for the TV are a Japanese video game or broadcast anime to get people in, and prestige poo poo will never again be a product in itself rather than bonus value to a streaming sub.

lmao what is this

# ? Jan 12, 2021 05:07

an actual dog: Nov 18, 2014

Larry Parrish posted:

i only watched dubbed anime op. if i hear that mickey mouse voice on an anime i just turn it off. you know what i'm talking about. like vanille from ff13's voice. i can't take it seriously and so as a defense mechanism i just watch poo poo that's dubbed because its less common. also for real subbed anime sucks to watch. the whole point is to look at the cool drawings but i can't do that and read the subtitles.

I'm glad you enjoy dubbed anime

# ? Jan 12, 2021 05:08

elaboration: Feb 21, 2020

elaboration has issued a correction as of 21:33 on Mar 22, 2023

# ? Jan 12, 2021 05:11

Larry Parrish: Jul 9, 2012; by Jeffrey of YOSPOS

try to tell me that black lagoon's english dub isn't superior and i will laugh at you. however the japan arc does kind of gently caress up and do the thing where everyone's speaking english even though there's supposed to be a language barrier in a few spots.

# ? Jan 12, 2021 05:11

RaySmuckles: Oct 14, 2009; Grimey Drawer

bumping "planetes" again; its about space garbage men. it definitely can be a bit...overly silly in moments, but the whole thing is an excellent view of capitalism and imperialism and is good hard space sci-fi. its really worth a full viewing cuz the ending is incredible

SmokaDustbowl posted:

https://www.youtube.com/watch?v=1dmlwhaEEgE

anyone got any recommendations for things to watch with this vibe and style? its exactly up my alley

i've already seen some: like cowboy bebop and stand alone complex, but i would love to explore more.

RaySmuckles has issued a correction as of 06:12 on Jan 12, 2021

# ? Jan 12, 2021 06:05

Alzabo: Oct 23, 2002; You watched it, you can't unwatch it.

Mandoric posted:

Honestly, as someone who played both sides of the table back then, I think it was almost purely a commercial correction. You're right that interest was in the process of popping, but interest popping has a long lead time in an industry that works, empirically, around both a consumer's 15-year cycle from 1st grade to college graduation and a producer's 15-year cycle from college graduation to senior creative.

First, interest. Interest is a loving miserable thing to track because you have hard "can't apples:apples this" lines around at a minimum:
* ~1998 broadcast change to cable
* 1999 package soft change from $40/50m tapes to $25/75m DVDs
* 2001 enthusiast-but-cheap change from $8 pirate tapes to free pirate torrents
* ~2005 beginning of the package soft overproduction meta, due to the declining rate of profit setting off a hunt for any possible hit through $5/75m or $25/550m DVDs
* ~2008 beginning of the enthusiast-but-cheap change from free pirate torrents to free pirate streaming
* 2008 dropping from cable for rising-costs rather than dropping-sales reasons
* 2012 beginning of package soft settling in at a middle ground of $75/550m DVDs
* 2013-2014 shift of enthusiast-but-cheap from free pirate streaming to pennies-a-day legit streaming
Within all of these the old category was on an upswing until it evaporated; I'm most familiar with the torrent part and it was not at all unusual in 2009-2010 to see 100k-150k dls of moderate hits at a scale that produced 15-20k in 2006 or 2007, for example.

The commercial process, though. The core problem of the industry is that there are two key contradictions that it's in no one's interest to fully recognize in the US market: there is a low-margin high-volume feeder market vs. a high-margin low-volume core market, and the status of a title on one side of the Pacific says nothing about its status on the other. From this angle:
* Feeder broadcast market petered out in the early 00s, with the shift to cable solidifying both the US market's increased capital-intensiveness and ability to target specific content rather than essentially buying up found footage, and Japan's ability to negotiate prices up.
* Most American-owned side core market companies were overleveraged to begin with--remember, companies like ADV grew out of video rental shops with an Amiga kicking around the back room--and had to leverage themselves even more due to increasing volumes and increasing competition. This led to a death spiral of printing thousands of copies of anything, achieving minimal sellthrough until the discount to $5, and then printing thousands of copies of the next garbage show because the last one eventually sold through.
* Japanese-owned side core market companies could not compete with selling anime as a generic product in this context; Pioneer calls it quits while Bandai attempts to power through until their competition goes bankrupt and prices rebound.
* American-owned side does indeed go bankrupt, but parachutes straight over from "flood with anything" to "flood with low-bid core products as the junior portion of a JV". It stabilizes them, but Funimation (which does eventually JV) can afford to keep prices at a low-margin midpoint through DBZ and its Christian media sideline, TRSI (which does eventually JV) can afford to keep prices at a low-margin midpoint through its distribution arm, and while those two big fish can hold pricing a bit higher and ride the long tail a bit longer...
* It does blow out the "core market equilibrium is $200 a season with lots of tchotchkes" assumption that kept Bandai in. They fold even while growing profitably (somehow, ask me about entire salvage retailer warehouse lanes full of Cutey Honey live-action lunchboxes) because the expectation is growth back to that point and whoops.
* With no one left around fire-saling in hopes of future growth, cable can no longer take its pick of cheap filler and hits the point where it's cheaper to just make ATHF themselves or whatever. "Legit", "discoverable" feeder market disappears completely for a while, and doesn't really come back because cable never had the viewership of broadcast and streaming doesn't have the linear showcaseness of cable.
* Finally, Funi and Crunchy, both JVs at this point (TV Tokyo was in Crunchy heavy before it went to AT&T, and Funi has been gradually eaten by Sony), synthesize "there's no competition in the feeder market" and economies of scale to come up with anime flavors of the modern streaming experience. Which, since it's AYCE, drags core right back down.
* We are here, in the gap which would have been the peak enthusiasm years for people who got pulled in through cable; instead there's just the limited set of ducklings who didn't get in until streaming and the greybeards who've been in since Pokemon was on Fox at 4pm. And of course KLK was an early streaming star for those ducklings; it's visually flashy, made by people with a lot of core market cred, and a straight-up action show in an era where the Japanese core market direction was split between talky esoterica and pop music vehicles.

tl;dr we're probably on a limited upswing of core through 2025-2030 when aging out once again matches aging in, but longterm never going to hit 2000s again because there's never again going to be dull childhood afternoons where your only kid-to-teen choices for the TV are a Japanese video game or broadcast anime to get people in, and prestige poo poo will never again be a product in itself rather than bonus value to a streaming sub.

I bought a lot of anime on laserdisc back in the 90s. It was kinda frustrating that only Pioneer and AnimEigo made a serious run of it. ADV, CPM and the rest had poo poo offerings. I'm really loving old

# ? Jan 12, 2021 06:17

elaboration: Feb 21, 2020

RaySmuckles posted:

bumping "planetes" again; its about space garbage men. it definitely can be a bit...overly silly in moments, but the whole thing is an excellent view of capitalism and imperialism and is good hard space sci-fi. its really worth a full viewing cuz the ending is incredible

anyone got any recommendations for things to watch with this vibe and style? its exactly up my alley

i've already seen some: like cowboy bebop and stand alone complex, but i would love to explore more.

the original ghost in the shell movie (pls dont watch 2.0 it adds horribly ugly cgi), 0080 war in the pocket, the original patlabor ova + the first two movies (imo the rest is worth skipping)

macross plus would also be good, another ova/movie depending on what you want directed by watanabe before he did cowboy bebop, you can really see all of the seeds for it in it. its set after the original macross series and doesnt require any knowledge of the franchise, but also macross DYRL is one of the most amazingly animated movies ever also

https://www.youtube.com/watch?v=rxahwxY_5jg

https://sakugabooru.com/data/ba766483e01ca1ca02fb7c0f1e25f4db.mp4

elaboration has issued a correction as of 06:26 on Jan 12, 2021

# ? Jan 12, 2021 06:20

Stairmaster: Jun 8, 2012

an actual dog posted:

lmao what is this

i thought it was isnightful and interesting but also i had some edibles

# ? Jan 12, 2021 06:23

Larry Parrish: Jul 9, 2012; by Jeffrey of YOSPOS

RaySmuckles posted:

bumping "planetes" again; its about space garbage men. it definitely can be a bit...overly silly in moments, but the whole thing is an excellent view of capitalism and imperialism and is good hard space sci-fi. its really worth a full viewing cuz the ending is incredible

anyone got any recommendations for things to watch with this vibe and style? its exactly up my alley

i've already seen some: like cowboy bebop and stand alone complex, but i would love to explore more.

planetes pwns. i dont really have a suggestion quite like it, but psychopass is a lot like SAC. it's a quasi cyberpunk world but takes it in different directions than what it means to be human or whatever. dont watch the other seasons, you'll understand why if you finish s1.

# ? Jan 12, 2021 06:25

elaboration: Feb 21, 2020

macross is also the series itano really started doin itano circuses and its so fuckin good looking lol. rip all that bubble economy money that allowed this to happen

https://sakugabooru.com/data/c1fe9e3d7a4aab9c2a30a84e705cb136.mp4

# ? Jan 12, 2021 06:30

RaySmuckles: Oct 14, 2009; Grimey Drawer

thanks for the replies

i've actually seen the original macross and i can tell you that, just like minmay, my boyfriend is also a pilot

keep the recs coming: good animation, action and that oh so unique japanese feel for tech and society

RaySmuckles has issued a correction as of 06:42 on Jan 12, 2021

# ? Jan 12, 2021 06:38

an actual dog: Nov 18, 2014

RaySmuckles posted:

anyone got any recommendations for things to watch with this vibe and style? its exactly up my alley

i've already seen some: like cowboy bebop and stand alone complex, but i would love to explore more.

Seconding what everyone said and adding Gunbuster

Judge Dredd Scott posted:

the original ghost in the shell movie (pls dont watch 2.0 it adds horribly ugly cgi), 0080 war in the pocket, the original patlabor ova + the first two movies (imo the rest is worth skipping)

I like 2.0 a lot but I'm also crazy for Oshii in general, definitely a don't expect the first GitS kind of movie tho. And the Patlabor TV series is good, just not the first thing you watch.

# ? Jan 12, 2021 06:40

elaboration: Feb 21, 2020

RaySmuckles posted:

thanks for the replies

i've actually seen the original macross and i can tell you that, just like minmay, my boyfriend is also a pilot

keep the recs coming: good animation, action and that oh so unique japanese feel for tech, society, and nature

less action-y/future-y, but Paranoia Agent does it for a lot of my friends who arent into anime

# ? Jan 12, 2021 06:42

Leroy Diplowski: Aug 25, 2005; The Candyman Can

Visit My Candy Shop

And SA Mart Thread

Future boy conan is a pretty solid retelling of alexander key's incredible tide that Miyazaki worked on. It's drat leftist especially in the second arc when reactionaries try to betray the farm collective. Also the whole drat series is available on YouTube because I guess someone forgot to license it or whatever.

# ? Jan 12, 2021 06:45

Stairmaster: Jun 8, 2012

https://twitter.com/tvtuners/status/1348817626940776451?s=20

# ? Jan 12, 2021 06:48

RaySmuckles: Oct 14, 2009; Grimey Drawer

adding in venus wars

its a pretty decent 1980s style sci-fi that does a good job demonstrating the bad sides of war, guerilla resistance, and somewhat celebrating not worshiping the military

its not excellent, but i found it enjoyable

# ? Jan 12, 2021 06:52

an actual dog: Nov 18, 2014

Stairmaster posted:

i thought it was isnightful and interesting but also i had some edibles

someone talking about their job is always interesting but I only understood half of it and it seems to be phrased as an argument with me while also agreeing?? also this is cspam??

# ? Jan 12, 2021 07:15

Lostconfused: Oct 1, 2008

I mean there's pretty solid arguments about demographics, cultural trends, and distribution mediums for why anime is the way it is. I am just going to be stuck playing SRW games from 2000s because that's the only thing I'll have left of the mecha genre.

Also obviously people working in the industry spend a lot of time thinking where things are going and why, probably because their livelyhoods depend on it.

# ? Jan 12, 2021 07:18

Adbot: ADBOT LOVES YOU

# ? Jun 1, 2024 13:58

Stairmaster: Jun 8, 2012

The mecha genre won't die until we have actual mechs.

# ? Jan 12, 2021 07:20

The Something Awful Forums > Discussion > C-SPAM > [ANIME] trying to enjoy MHA, after 110 episodes its starting to get interesting

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