Another month, another set of anime releases to track on amazon. Of particular note are Hetailia The Beautiful World (~5000th with 4 weeks to release, big US fan presence) and Deadman Wonderland (~3000th with 3 weeks to release). Those two have legitimate shots at the big charts, though any series should have to rank 500th or lower for multiple days to have a realistic chance.
The commercial impact of anime goes well beyond its disk sales. Manga may sell to more people, but anime is extremely visible, airing on TV (albeit often late at night) and propagating around the internet at a very rapid pace. This visibility very often can lead to an increased strength of the franchise in general, propping up sales of print material, figures, and any various other related goods. Sometimes, anyway. 2013 was no exception, and saw a number of manga adaptations have anywhere from minimal to explosive effects on the sales of their source material.
I collected the manga sales history, including thresholds for series which charted sporadically, on this doc, and plotted it below. Note that these sales are not total, but the total number reported in a roughly fixed time period. Comparing sales tail length is a whole other issue, and I’m trying as much as possible to compare like figures.
One important difference from similar breakdowns of 2011/2012 series is that here I’ve opted to use the total sales from a series’ first 2 weeks of release (the highest reported total in that time interval), to attempt to minimize the effects of a bad split in creating artificial variations. It’s still an issue either way, but the difference between 9 and 14 days is a lot less than the difference between 2 and 7 days.
Two important series-specific notes prior to the plots. First, Maoyu is plotted here, in the manga section, because the manga charts more consistently than the light novel did and, more importantly, has available data from both before and after the anime aired (the LN ended just prior to 2013). Second, I can’t parse impact for series that don’t have at least one volume which released after the anime began to air. I thus will not be covering Servant x Service here, though there is data available. I will cover it in an addendum post come September when volume 4 has been out for 2 weeks.
It’s fairly frequent among people who have started to get interested in anime enough to start knowing things about the people who make it find themselves encountering the names of certain directors and studios over and over. Kasai Kenichi excels at college life stories. Hiroshi Nagahama was the bold visionary who directed Mushishi. Perhaps one of the more preeminent studios in that regard are Madhouse and Gonzo, the studios behind Death Note and Gankutsou, respectively. They can flash those series names on “from the studio that brought you” title cards of the trailer for anything else they make, despite the fact that Madhouse made the Marvel anime and Gonzo hasn’t been run by the people who made Gankutsuou since 2008. I’m here to make the case for why Madhouse’s reputation, along with a number of others, may be a bit overblown. It’s not that they’re not making awesome anime, but they are picking source material that gives them a lot of help.
This situation with directors can sometimes be a bit like that of the quarterback in American football; they get too much credit when things go well, and too much blame when things go wrong. In reality, lots of factors beyond the men at the top contribute to an anime’s success. I’m here today to take a look at one in particular; the pre-production choice of high-quality of source material. What follows is a look at anime adaptations of Shogakukan/Kodansha Award-Winning manga, including observations based on both their relative frequency over the years, their strength as a function of which studio makes them, and their performance in the marketplace.
So if you’ve been following the Spring 2013 season at all, you’re probably aware of how much of a hubbub Aku no Hana has kicked up. The trimodal mal score distribution attests to the strong difference in opinion, which has caused tensions to flare up in any number of discussion forums. Forums nominally for discussion, anyway, because there hasn’t been much actual discussion going on.
In contrast to a Thursday featuring a pair of newer directors, Friday was all about veterans coming back to their native style. With results that, frankly, could have been way better.
If the anime blogoshpere were a field of corn, and each post that summarized the spring 2013 season were a corn husk, then you could stand in the middle of it and toss a match in any direction, and end up with something on the order of 10 gallons of popcorn. And some third degree burns. Um.
So, what I mean to say is this; seasonal anime preview posts are really a saturated field. But we like anime, and we want to cover it, too. Thus, we labored hard to find a hipster angle, and we found it; instead of putting up a dime a dozen post, we’re putting a dozen dimes on the post. In simpler terms, we’re taking mad bets on the upcoming Spring 2013 lineup, Vegas-style!