Unstoppable Hype Machine Summer Fall 2014 – #10 Unlimited Blade Works

Summon it!

I am the hype of my anticipation
Anime is my body and manga is my blood
I have created over a thousand posts
Unknown to Death, Nor known to Life
Have withstood pain to create many opinions
Yet, those eyes will never know rest
So as I pray, Unstoppable Hype Machine.

Fun With Numbers: October 2014 US Amazon Data (Initial Numbers)

October figures to be an interesting month, the second in a row headlined by multiple releases likely to chart. The most obvious is DBZ: Battle of Gods, which has the combo pack at 138th place a week before release. GitS: Arise and Hellsing Ultimate also have respectable probabilities of ranking given good thresholds; Ultimate is basically in the same position Steins Gate was in a month ago, and that release encouragingly broke into the lower 200s today.

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Timeslot History: 1994-2000 Wrapup

After getting all that timeslot data from 1994-2000, I realized there’s not a ton of meaningful analysis to do on it beyond simply putting it together in a coherent format and eyeballing. It’s a big sample, but also one with a decent amount of variance that would need additional attributes added to each datapoint to do more with it. This is one of those cases where the raw data at a glance is more interesting than an analysis using more complex statistical tools. I don’t regret doing it* – I certainly learned a lot, and found some justification for one of my older articles.

At any rate, from 1994-1996, one anime series aired after midnight (Those Who Hunt Elves) among 113 total shows. From 1997-2000, 79 series aired after midnight among 250 total shows. That’s an average of about 79/250~30% of the content produced for TV those years. The two biggest contributors to that 79-show total were TV Tokyo (4 dedicated slots, 33 total shows) and TBS/MBS (24 total shows). Also of note is WOWOW’s temporary emergence as a viable anime broadcaster; they aired 36 shows over the latter period, many of which were notable.

Between them, late night slots and WOWOW accounted for half of the ten 10k+ hits from that same 1997-2000 time period; Brain Powerd, Cowboy Bebop, Hand Maid May, Initial D, and To Heart. It’s not like none of these series or the other notable after-midnight shows wouldn’t have been made if not for the availability of late-night slots, but you could definitely pull out a counterfactual or five about how the industry would have been different if not for Eva and the late-90s late night boom it sparked. I think it suffices to say that they played a decently large role in opening up the field for a wider variety of shows – Cowboy Bebop is a clear example of a show that couldn’t be aired the way the creators wanted in a daytime network slot, and odds are at least some others would have faced similar difficulties. Too, a lot of the ideas that ended up becoming late-night shows were going to be in production phases may have become 2-3 episode OVAs instead, which would have been a waste of the late-cel era of animation. It’s fun to consider, at least.

*It’s basically the same thing I get out of magazine scans. Nothing so far has revolutionized my view of anime as a whole, but there’s a lot of omnipresent context that I can only begin to understand by absorbing gobs of information from a category I don’t normally specialize in. Same basic reason I’ve been reading the novel translations for Vamp and HaGaNai lately.

Via Anime Insider: Witchblade Staffers (August 2007)

Director Yoshimitsu Ohashi and tie-in manga artist Sumita Takeru (who is actually a follower of western comics) talk about story details and the degree to which they had to keep their plots true to the original work.

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Via Anime Insider: Dai Sato (August 2007)

Writer Dai Sato talks about his career, his background as a musician, how Eureka Seven’s pre-production slot switch influenced its story, and his feelings on adapting manga (as opposed to adapting novels or writing original material).

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Via Anime Insider: The Cast of Haruhi Suzumiya (August 2007)

Aya Hirano, Yuko Goto, and Minori Chihara talk about their different voice-acting backgrounds; Hirano was a child actor, Goto was a college dropout and ex-AD, and Chihara started after graduating high school.

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