Fun With Numbers: Statlines for the Video Game-Anime Adaptations of 2012

The investigation into video game source popularity (started with 2011 data here) continues into 2012, where, despite an increase in the total number of shows aired, the number of game adaptations remained almost constant (rose from 9 to 10) and the total number of 10k+ shows actually went down (from 4 to 1).

To recap the meaning of these numbers; in order to get some idea of how existent and/or strong the video game franchise popularity -> anime popularity -> added video game franchise popularity chain is, I pulled a pair of stats for each of the 10 video game adaptation anime made in 2012 that I have data for. The 2 stats I chose to measure video game popularity were maximum yearly rank of the franchise on popular VN retailer getchu (mildly NSFW) and total console game sales for games released within one year of the anime’s initial airdate, via vgchartz. Data is archived here, and summarized on the chart below.

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Fun With Numbers: Amazon Rank Progression for US Releases (March 25)

Note: The part 3 of the series on composers is on hold for a little bit. I got pretty deep into the rabbit hole and want to actually listen to the stuff these guys wrote to see if their big pieces have common elements. Since music is more passive listening, it’s somewhat feasible, and is an important part of looking at what that junk stat means, if anything.

And speaking of articles delayed way longer than I expected them to be, game adaptations! While console game sales are somewhat reliably available via the numbers, PC VN data is not, so they can’t be reduced into a plottable stat in the same way that manga and LNs can (the latter’s data are still incomplete due to thresholds and long tails, but big gains are usually obvious because of there’s a baseline to compare them to). I eventually decided to start breaking them down as a two-number stat line; highest yearly rank on VN retailer getchu and console sales via vgchartz, both within one year on either side of the anime airdate. I hope that I’ll be able to start posting those 2011/2012 stat lines before Scottie Wilbekin wins me real money in my March Madness pool, both of which I have now successfully jinxed. Anyway.

This is the last individual/plot post I’ll be doing for the March US releases I’ve been tracking. The full sheet of data is available here. I’m doing tracking for several April releases as well, and will continue to do so so long as there look to be more questions worth the daily effort of collecting the figures. An analysis post, comparing some of the narratives I touched on earlier with the new data, discussing other points to attack with a sample that will continue to grow, and making very, very tentative factor-of-two sales estimates based on extrapolation from somewhat known low-end and high-end daily totals will (hopefully) be up sometime this week. Speaking of the low-end, here’s the last chart for the performance of that Aria the Natural release:

Aria-wk4Chart is date, rank, # in stock

Thankfully, I got the sale I needed this week. It seems like a single sale is enough to bump an item ranked 300,000th down under the 120,000th place no-sales line. Good to know.

Plots are posted after the jump.

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Fun With Numbers: March 2014 Amazon Data (Initial Numbers)

Way back in December, I started a rough, bare-bones look at a bit of publicly available data; US Amazon TV/Movie bestseller list rankings for anime releases. That data collection is mostly done, pending K’s release this Tuesday, and it yielded some potentially interesting nuggets (expect that summary post to happen before this next weekend). Enough so that I plan to do the same at least for the month of March. This is a list of the releases I’ll be tracking over the next 30 days, with their release dates, prices, and initial rankings. All series were accessed via amazon’s upcoming anime releases page.

Two points before the list itself:

-I compiled my February list too early (several titles were only announced for release after I built my list), and missed the opportunity to track some releases that way. Since most titles tracked in the February sample were relatively steady and very low on the list until a week before release (save for Robotics;Notes’ ridiculously discounted edition), I’m going to start tracking monthly rankings approximately one week prior to the first set of releases from now on.

-The price I note is the series’ MSRP price. If the series becomes listed at more than 50% off that price at any time during the amazon solicitation, I will note that both now and during the final analysis. The February part 1 release of Robotics;Notes had such a discount.

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Fun With Numbers: The February 2014 Amazon Experiment (Initial Numbers)

I present few results here; I’m mainly just laying the groundwork for something I hope will bear fruit at the end of the titular month.

As you may know, I’m very interested in the intricacies of the market for Region 1 anime releases, and I’ve looked at the problem from a few different angles. There are sources for this sort of thing, but I’d rather start building a cache of available numbers than just rely on word from ANNCast, likely reliable though it is, that certain series did “well” or “break-even”. This post is the raw beginnings of an approach on this problem, though at this phase of things I’m mainly interested in finding indicators that seem accurate.

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Manga Olympics for Bloggers (Shojo/Josei Round 1c): Undervalued International Female Fans See a Lack of Shojo Anime

I’ve mentioned before how I often I see misconceptions about shojo manga in my group of anime-fan friends. The most common misconception that pops up is that shojo is a one-note genre (rather than a demographic, which it is by definition), but a close second is the assumption that female fans are a small minority among those that follow anime. While that’s somewhat true in Japan, it couldn’t be further from the truth in America. Indeed, female fans may make up the majority of manga buyers in the United States. So why so few shojo anime? I’ve got a take on that.

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