Not that it matters, since the novel Free was based on was in the Kyoto Animation Award contest, but I think they were the perfect studio for this show. Of course, it’s a given that the high-energy swimming scenes would look good.* But the motion-heavy body language is boosting the comedy along with the action. something really pronounced in the one scene where Gou and Amakata revealed they wouldn’t be sleeping outside. Hiroko Utsumi really milked those one-syllable words for all they were worth.
Tag Archives: Fun With Numbers
Fun With Numbers: Licenses Matter (If You Know Where to Look)
The Summer 2013 has presented rich discussion fodder, giving rise to a number of interesting talking points. My favorite one is still the one on the merits of the core comedy in high-school life series that Free has sparked. This article is about one of those questions, one which is more complicated than some might think; Why did The World God Only Knows get a sequel? Based sheerly on anime sales, it’s a very risky proposition; season 1 literally just hit the profit line with an average 3000 sales per volume, and season 2 was well below that, averaging only 2117 per volume. If it made any contribution to manga sales, it was one of questionable value. Aside from one special-edition release that came with a bundled OAD, the manga sales don’t show a big jump after the anime airs. It’s a late-night anime, too (aired at 3:20 in the morning), so it’s not getting any help from TV ratings/ad revenue. So why are we looking at the third season of an anime whose second was already on shaky ground?
The answer is that that ground is not, in fact, quite so shaky. Once one considers the additional impact of licensing dollars, some sequels that look like iffy business make a lot more sense.
Fun With Numbers: Anime as Manga Advertisments in 2011 (Part 1: The Solid Baselines)
Update 2 (July 15, 2014): New, more accurate data is here.
Update (Jul 1, 2014): This post doesn’t measure releases in 2-week totals, which turns out to be a huge deal in many, many cases. I’m currently working on an updated version of both this and the other 2011-2012 manga boost posts. Just be aware of that before citing the data from here regarding any one show.
Some time ago, I published an article looking at how anime adaptations produced in early 2012 affected the sales of their source manga. It was interesting data to take a look at, and it was interesting to see which anime really boosted the manga sales. Long story short, there are cases where a manga really jumps from mid-tier to franchise level (Space Brothers, Kuroko’s Basketball, Inu x Boku SS) soon after the anime airs, and cases where the anime doesn’t have much visible effect.
It was very intriguing to look at, but it wasn’t a sample large enough to draw real definitive conclusions from. So I’ve recently been pulling sales records for manga that had an anime adaptation air in 2011, to get a better idea of how the two media are interrelated. This post contains the first half of that data, specifically the data for which I have specific totals from both before and after the anime first aired, and some observations on that data.
Fun With Numbers: Ecchi is not a Growth Industry
One bit of seemingly ubiquitous conventional wisdom is that makers of anime often face a choice between making works that sell and works with integrity. However, one thing I’ve learned over the years is that it’s usually worth taking the time to test conventional wisdom against actual numbers, because it can be wrong fairly often. So I took a look at the performance of Ecchi anime relative to the rest of the market over the past 8 years. Sure enough, the picture is a bit more complicated than “otaku only buy boobs”.
Fun With Numbers: Was Aku no Hana Commercially Successful?
“[…] Nagahama says he’s well aware that a lot of people will go “what the fuck” and “this is gross,” “I hate this, I’m not watching this.” But he’s pretty much okay with that, too, because he thinks it’s fine as long as it leaves an impact on people. Viewers may dismiss it right away, but some may check it out later and find it interesting, or they may come across the manga, recognize the title, and read that.”
-excerpted from this animesuki translation of an interview with Hiroshi Nagahama, director of Aku no Hana.
That may seem provocative, but it’s actually a fairly common philosophy in the business of anime for a publisher to fund a loss leader, in this case an unprofitable anime that stimulates manga sales. There’s quite a bit of evidence that this can work, though anime serving as a commercial for the manga generally has to stand out to drive up manga sales. I believe numbers inform the debate, so it’s worth taking a look at how that gambit played out.
Indeed, the eighth volume of Aku no Hana, the first one out after the anime aired, showed a little over double the sales of the first volume. So there’s a pretty strong case that the anime got the manga more attention. The more interesting question for me is this: in the face of seemingly abysmal sales of the anime’s first volume set to come out in late July, could the increased sales of the manga still make the anime successful? For the purposes of this article, “successful” means that it produced a gross profit equal to its production budget.
Fun With Numbers: Critical/Casual Slants
It’s one of the oldest conundrums in the anime fandom that the shows that get the most attention are often not the best-made shows, the ones that blow people’s minds when they see them. In a vaccum, that’s pretty confusing; shouldn’t we be giving the most attention to the shows we’ll enjoy the most? Why do some shows get high ratings and languish in the proverbial basement popularity-wise while others get abyssmal scores but receive tons of attention? I found a quick and dirty way to dig into this problem using my set of seasonal anime data and got a set of results that was equal parts depressingly predictable and pleasantly surprising.
Fun With Numbers: A Numbers-Based Way of Picking Out the Best Anime of the Past 8 Years
You know the old saying; “Stats don’t lie, except when they do.” Using stats to argue point son anime is kind of tough, as any individual figure, be it Japanese sales, TV Ratings, merchandising fees paid, or online ranking site figures, only reveals a small part of the overall picture. Since I compiled a rather large database containing multiple stat lines for 95% of the anime to air over the past 8 years, I might as well use it to numerically classify true-blue-chippers.
Allow me to introduce a very exclusive society, the Hit-L-Double-Double (HLDD) Club. It’s the list of anime that have accomplished 4 feats, 3 of which are very difficult individually. Specifically, it’s the list of anime that have sold 10,000+ units per volume in Japan (megahit sales territory), been licensed overseas (international sales viability), and have myanimelist rankings and popularities in the top 100/double digits (esteem and popularity overseas).
This is a list of the unequivocal successes, the things that have amassed not only megahit status in Japan, but also a significant English-speaking fanbase and critical praise. These are numerically irrefutable successes, at least in theory. You could call it the “talk to anyone” list, because you could talk to anyone in the industry and they would agree with you that it was a rock-solid commodity. From 2005-2012, anyway (that’s the era I have all the data for). All the members from that period are listed below, along with their statlines. Sequels are excluded to keep it tidy, and because they’re rarely much different from s1 stats-wise.
This list is not meant to be very surprising. It’s just a slightly different way of thinking about blue-chip anime.
Fun With Numbers: Inu x Boku SS and Anime As a 20-Minute Manga Commercial
Following up on the impressive (well, to me) discovery that Inu x Boku SS is Square Enix’s top manga, I had another thought. It went something like this; “Well, that anime was pretty darn good, and I know it sold a fair amount of Blu-Rays. I wonder if that has anything to do with how successful the manga is right now?” And so I took to the Oricon rankings, checking for shows from Winter and Spring 2012 that came from manga source material, and looking to see if they experienced a boost in sales. So I put a lot of numbers into a lot of spreadsheets, got distracted by the Saurday anime slate, and made a lot of graphs. If you’ve ever wondered why manga publishers sponsor anime, this should be an entertaining read.
So. Much. Paper.
Fun With Numbers: Inu x Boku SS and Square Enix Doing Something Right
So yesterday morning, I was reading through the newer articles on ANN, when I spotted one that piqued my interest: a comics ranking with Inu x Boku SS’s ninth volume at the top. I didn’t spit out my coffee*, but that was a fairly surprising result. And this wasn’t getting to the top in a total off-week, either. It sold about 220,000 volumes, more than the next two new volumes on the list (Deadman Wonderland 12 and Blast of Tempest 9) combined. That put it near the top, if not *at* the top, of the manga Square Enix is currently publishing. So I started to wonder; considering this company was publishing Fullmetal Alchemist just a few years ago, isn’t this kind of a notable downgrade? The answer, unearthed after some digging, was several kinds of interesting.
Though nowhere near this interesting
Fun With Numbers: Recency Bias and Boom-Bust Cycles in Anime Fandom
In a previous post made approximately forever ago, I tackled the idea of “churn”; that anime fandom was constantly gaining new fans and losing old ones, at a rate high enough to cause significant institutional memory loss. Long story short, it turned out there was a distinct, cliff-like loss of popularity corresponding pretty closely with the introduction of Blu-Ray to the market in 2007-08, but not a constant one over time.
Here’s another angle on the idea, though: there may not be a constant change in popularity, but what about rating? Are people giving newer anime higher scores in general? That’s what I’m going to examine here.


