Along with an understanding of the broader context of the subject, the most vital ingredient to good anime coverage is a reliable source. So when US journalists actually interview people on the production side in Japan, it’s generally worth noting unless the interview consists entirely of fluff. This is the second of what will (hopefully) be several posts over the next couple of weeks archiving articles from Newtype USA’s [inside] series of articles written by Amos Wong. It contains comments from President Hiroshi Takahashi and Director Daisuke Nishio on researching how to best portray action sequences, overseas sources of income, and the pluses and minuses of the transition from analog to digital animation.
Note: Pictures are scans of the article made on my crappy scanner, which cover the article text but not the entire page. Apologies for that. Scans after the jump, along with comments on the contents of the article.
If there’s an inverse situation to not seeing a sequel to something you liked that you know was really popular, it’s getting a sequel when you in no way expected one. Disc sales are a pretty good indicator of when something is commercially viable enough to get a second season, but they aren’t the only factor playing in. There are a couple of consistent ways that anime with non-profitable sales wind up with more than one season, and that’s what I’m looking at today. Examination of the ones that did sequel reveals a rather unsurprisingly grim prognosis for fans of old, poorly-selling shows hoping that they’ll get more.
In 2011, Toei Animation and Banpresto collaborated to fund a mediocre 20-minute ONA based on an awesome trailer. In 2012, Director Rie Matsumoto returned to the fray to do it right, cranking out a new five-episode ONA. We watched the latter, and are ready to dish in the latest “us-doing-whatever-we-want” feature!