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Post Reply Netflix forms alliance with studio Bones, Production IG and Wit Studio
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Posted 1/31/18 , edited 1/31/18

asharka wrote:


  1. This deal only extends to Production I. G. and Bones anime that are co-produced by Netflix.
  2. Netflix is basically going to take the place of TV stations on specific production committees involving Production I. G. and Bones.
  3. Production committees rarely change drastically between seasons, so don't expect many sequels to suddenly only be available on Netflix.
  4. This deal ensures that Netflix will be the only distributor for whatever IG and Bones shows are co-produced by Netflix.
    This is much more similar to Devilman Crybaby than Netflix's delaycasts since the delaycasts were co-produced by TV stations and Netflix simply licensed distribution rights.


Hmm, I guess this removes some of my concerns with this announcement.
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Posted 1/31/18 , edited 1/31/18

HOOfan_1 wrote:

Probably because they do all of their own original content that way. Binge watching seems to be part of their identity now. I usually prefer to binge watch stuff, but if they release episodes as they air, then people who want to watch it as they air can watch it, but nothing prevents me from just waiting to binge watch the show.


Well that's unfortunate. Thanks for explaining.
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Posted 1/31/18 , edited 1/31/18
From my "NEWS: B: The Beginning Anime's New Trailer Previews Theme Song" post (on ANN):

Allow at least 2 anime titles to be weekly streams. Those 2 series get a weekly simuldub the same week that their respective 3rd subbed epi. debuts. The seasonal anime lineup is open to most territories simultaneously. That is, barring certain territories blocking Netflix, Territory B gets the epi. within 36 hours of Territory A getting it. When NF has started doing all these points for each season, I will have more respect for their decisions on streaming anime that are Netflix-first licenses.


While we are at it, perhaps NF can help pour some funds into Studipolis, Bang Zoom!, NYAV Post, and New Generation Pictures getting more resources for a higher output. When it comes to the dub output, suppose that each season at 12 get simuldubs. Have at least 5 be Funi-dubbed and the rest go to L.A. The stipulation is that the L.A. dubs meet the requirements of my above quote.
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Posted 1/31/18 , edited 1/31/18
Depending on how they handle things, it could be good or bad. Sometime ago I sent a feedback post to Netflix asking for them to simulcast Anime. I never got a reply, but I imagine if loads of people from the Anime community started sending the same feedback, they would have to rethink their policies.

I'm also hoping their current simulcast experiment with Violet Evergarden will be successful enough to warrant more simulcasts in the future.

Or maybe we should just write in a vote for 'Netflix (Not Simulcasting)' as best villain of 2017 in the CR Anime awards. (though Amazon is a serious contender too with their limited payment options and the months of double pay wall in the US)
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Posted 1/31/18 , edited 1/31/18

Suhkitty wrote:
[...]
Or maybe we should just write in a vote for 'Netflix (Not Simulcasting)' as best villain of 2017 in the CR Anime awards. (though Amazon is a serious contender too with their limited payment options and the months of double pay wall in the US)

I'm sure if we did this we'd get a landslide win for everyone's favorite nightmare "Licensing restrictions"

...which is where this deal could be a good thing for countries that usually get the short end of the licensing stick, I assume Netflix-produced Originals would get worldwide releases (or at least release in all regions Netflix is available in).
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Posted 1/31/18 , edited 1/31/18

mfritsch wrote:


Suhkitty wrote:
[...]
Or maybe we should just write in a vote for 'Netflix (Not Simulcasting)' as best villain of 2017 in the CR Anime awards. (though Amazon is a serious contender too with their limited payment options and the months of double pay wall in the US)

I'm sure if we did this we'd get a landslide win for everyone's favorite nightmare "Licensing restrictions"

...which is where this deal could be a good thing for countries that usually get the short end of the licensing stick, I assume Netflix-produced Originals would get worldwide releases (or at least release in all regions Netflix is available in).


You make 2 very good points. I just think the license restrictions are cash cows for the studios so they probably won't be stopping that no matter how many times we award it the Best Villain title. Naming a single company might cause some of that company's execs to scratch their heads and do something. If only to counter the negative press. But I guess it would disappoint a lot of people if the award got hijacked like that...

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Posted 1/31/18 , edited 2/1/18

GoldCrusader wrote:

I mean if devilman, B the beginng and AICO(which is by BONES) are any indication, they seems to aim for worldwide releases. Also with Netflix, productions crumbling under pressure is pretty much gone. I mainly see this as a positive.

I assume it won't affect shows like AoT and MHA simply because these already have deals with tv networks over in Japan.

Also if you think about how Netflix works. A show doing well and backed by them will pretty much assure extra seasons.


You bring up some valid points.

For me, watching the very day of release is not a big deal. I prefer to binge, and have things sitting in my queue longer than they should. (I'm also an old anime fan where you'd either hit things and be able to buy or watch a series back to back, or you had to literally wait MONTHS if not years for the next part to come out... Even when I used to pirate, I still let things build up because after one episode you typically want to watch more, and can't and often you simply forgot what happened last week).

I also am in favor of the financial backing that might give extra seasons. I'm tired of the "half a story told in 13 eps, and if we're stupidly lucky, we might get another seasons, but OMG, we totally didn't expect that and season two either has nowhere to go or just downright loses its narrative and story". Cause that sucks more than dealing out eps piecemeal.

I like the fact that netflix also tends to show more mature stuff. Honestly, Amazon does as well (and Amazon did have better properties while AniStrike was going, but the pay wall was atrocious). Funi and CR focus more on mainstream appealing anime titles than the other two do. It reminds me more of anime in its heyday where something like Vatican Miracle Examiners (not that great) could be found next to Grimoire of Zero, next to Made in Abyss, next to some of the older titles like RahXephon and Ultramaiden.

You may find gold, or you may find garbage, but the funny thing is, the shows, again, especially on amazon, feel more like they are willing to take some risks, deliver something that's going to last more than a season, and honest to god reminded me of the older days of anime... You know.. back in the day before it was all shounen and moe.... Funi and CR just don't have the budgets to fund studios, and the studios seem to have budgetary issues that keep them from taking those bigger risks..

Netflix also excels in the asian drama division. Many people may have hated it, but it was nice to see Gantz:0, after having such a long time pass after the original anime, (and after watching Inuyashiki on Amazon, it felt like a better ending than the anime and though I never read the manga, it makes me more interested in seeing it).

Erased was another solid live action movie based on an anime on netflix, and they have a LOT of more unknown titles as well, including Boys over Flowers (or was it Flowers over Boys? I always get that mucked up), and original shows that never got an airing before, and even sponsoring a few good original titles. CR, by contrast, hasn't really done much with asian drama in a while, and has instead focused on the above mentioned mainstream anime appeal.

I'm not saying I'm a huge fanboy of these other companies getting in on the action. the aforementioned paywall was a shitty move on amazon's part. Netflix anime does have its own distinctive "flavor" that I'm not a fan of (and it's the same weird taste left in my mouth after watching their "actual" original series....). They also use a LOT of bad CGI... A LOT.

But I still think if simulcasts not being available in the US is your biggest complaint, you're really not taking it in as a whole.... There's a lot more interest in anime than just the fans on CR's boards, and it's not a bad thing. It also MIGHT mean that animation studios are finally seeing that the internet and its titans MIGHT just be able to get them a larger portion of the audience than their focus on providing lewdly dressed teenage girls in compromising positions and OP teenage boy characters who are obviously all part of an escapist fantasy for a declining population of repressed middle aged japanese men....

TBH, I'm thinking CR/Funi need to wake up to what's going on..
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Posted 1/31/18 , edited 2/1/18

serifsansserif wrote:


CR streams anything they can get the rights to. Whether that be moe, period dramas, horror, shounen flavor of the year, romance, or puppets. They would stream everything if they could.

Amazon's shows are only avant garde because that's the block they have a deal with. CR used to get those shows before Amazon got exclusive rights to it.

CR and Funi have both been involved with producing anime (Ancient Magus's Bride and Dimension W), but Netflix clearly has deeper pockets and can afford to fund less mainstream shows like Devilman Crybaby...which is one of the few anime they actually are involved with making and didn't just slap their label onto because they're streaming it (Seven Deadly Sins, Knights of Sidonia, etc).
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Posted 1/31/18 , edited 2/1/18

LokiLB wrote:

CR streams anything they can get the rights to. Whether that be moe, period dramas, horror, shounen flavor of the year, romance, or puppets. They would stream everything if they could.

Amazon's shows are only avant garde because that's the block they have a deal with. CR used to get those shows before Amazon got exclusive rights to it.

CR and Funi have both been involved with producing anime (Ancient Magus's Bride and Dimension W), but Netflix clearly has deeper pockets and can afford to fund less mainstream shows like Devilman Crybaby...which is one of the few anime they actually are involved with making and didn't just slap their label onto because they're streaming it (Seven Deadly Sins, Knights of Sidonia, etc).


Ok.. but that's kinda the problem.

Funi and CR should be more selective. Don't support crap titles just because you can buy them in bulk. One of the common complaints I hear about "why anime sucks" these days (and admittedly I'm kinda one of them) is that we've traded in quantity over quality.

Netflix and Amazon have fewer titles, but they have more key titles, (and original stuff)

When people try to explain WHY anime sucks today, they often point to the economy being crap, and not enough investments to engender more creativity and originality.. But that's kinda what these two companies are doing....

So overall, I'm happier with their product and its results over what I see here generally.

I'd rather watch a truly horrible title than 10 mediocre ones.
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Posted 1/31/18 , edited 2/1/18

serifsansserif wrote:

Ok.. but that's kinda the problem.

Funi and CR should be more selective. Don't support crap titles just because you can buy them in bulk. One of the common complaints I hear about "why anime sucks" these days (and admittedly I'm kinda one of them) is that we've traded in quantity over quality.

Netflix and Amazon have fewer titles, but they have more key titles, (and original stuff)

When people try to explain WHY anime sucks today, they often point to the economy being crap, and not enough investments to engender more creativity and originality.. But that's kinda what these two companies are doing....

So overall, I'm happier with their product and its results over what I see here generally.

I'd rather watch a truly horrible title than 10 mediocre ones.


At this point one of the big selling points for CR is how broad their library is. Doesn't matter if it's a slice-of-life, moe, fanservice, shounen, or oh-why-god-why-haoliners-again, there's a good chance CR has the license for it unless someone else snatched it up. Amazon and Netflix catch their share of stinkers or mediocre shows, everyone does. It's not (mostly) about being selective, it's about the risk airing anything that the production just didn't pan out or didn't connect with your audience. Pumping more money into something doesn't make it a hit, look at all the flops that Hollywood churns out on multi-million dollar budgets every year.

And frankly, if CR decided to solely go head-to-head with Netflix and Amazon in buying select shows to ensure "better" quality, they'd lose. Anime is a side business for businesses that have more in their streaming portfolios, a CR with only a few titles each season is just a catalog of old shows.
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Posted 1/31/18 , edited 2/1/18

serifsansserif wrote:


LokiLB wrote:

CR streams anything they can get the rights to. Whether that be moe, period dramas, horror, shounen flavor of the year, romance, or puppets. They would stream everything if they could.

Amazon's shows are only avant garde because that's the block they have a deal with. CR used to get those shows before Amazon got exclusive rights to it.

CR and Funi have both been involved with producing anime (Ancient Magus's Bride and Dimension W), but Netflix clearly has deeper pockets and can afford to fund less mainstream shows like Devilman Crybaby...which is one of the few anime they actually are involved with making and didn't just slap their label onto because they're streaming it (Seven Deadly Sins, Knights of Sidonia, etc).


Ok.. but that's kinda the problem.

Funi and CR should be more selective. Don't support crap titles just because you can buy them in bulk. One of the common complaints I hear about "why anime sucks" these days (and admittedly I'm kinda one of them) is that we've traded in quantity over quality.

Netflix and Amazon have fewer titles, but they have more key titles, (and original stuff)

When people try to explain WHY anime sucks today, they often point to the economy being crap, and not enough investments to engender more creativity and originality.. But that's kinda what these two companies are doing....

So overall, I'm happier with their product and its results over what I see here generally.

I'd rather watch a truly horrible title than 10 mediocre ones.


And who judges whether a show will be crap or not? If they do that, then they will miss out on underrated gems like Konohana Kitan.
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Posted 1/31/18 , edited 2/1/18

serifsansserif wrote:

Funi and CR should be more selective. Don't support crap titles just because you can buy them in bulk. One of the common complaints I hear about "why anime sucks" these days (and admittedly I'm kinda one of them) is that we've traded in quantity over quality.

You are basically asking that Crunchyroll be something other than CR.

Also, I don't want someone's else's opinion of what is good to be substituted for my own, and and honestly you shouldn't either.

Additionally, how does one accurately judge whether each title is going to be good or not, before they even air? Sure, one can try and go by the source material, but it isn't as if bad adaptations don't exist. What about original anime?

Frankly, the idea of "saving" money on "bad" anime and using that to up the bid on "quality" titles is going to be bad business for a dedicated anime service like CR. It doesn't matter how good a title is, if a service bids more on it than they'll make back, they are still losing money. CR has been profitable since early on, so obviously the way they license anime titles works as a business plan.

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Posted 1/31/18 , edited 2/1/18

dark_pride wrote:
And who judges whether a show will be crap or not? If they do that, then they will miss out on underrated gems like Konohana Kitan.


Fair enough... But as I stated above, I'd rather watch terrible rather than mediocre. What makes mediocre? just heaps and heaps of sameness, year after year.

All in all, my point is that Amazon and Netflix aren't "villians" even if we all get pissed off at them from time to time. And so far, the defense proposed for CR have felt more like excuses that reiterate the points made as to why this sort of progression is a good thing.
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Posted 1/31/18 , edited 2/1/18

TheAncientOne wrote:


serifsansserif wrote:

Funi and CR should be more selective. Don't support crap titles just because you can buy them in bulk. One of the common complaints I hear about "why anime sucks" these days (and admittedly I'm kinda one of them) is that we've traded in quantity over quality.

You are basically asking that Crunchyroll be something other than CR.

Also, I don't want someone's else's opinion of what is good to be substituted for my own, and and honestly you shouldn't either.

Additionally, how does one accurately judge whether each title is going to be good or not, before they even air? Sure, one can try and go by the source material, but it isn't as if bad adaptations don't exist. What about original anime?

Frankly, the idea of "saving" money on "bad" anime and using that to up the bid on "quality" titles is going to be bad business for a dedicated anime service like CR. It doesn't matter how good a title is, if a service bids more on it than they'll make back, they are still losing money. CR has been profitable since early on, so obviously the way they license anime titles works as a business plan.



*sigh*

Somehow, this always comes back to an argument for the status quo............

I don't disagree in that it's better to form your own opinions,and I often champion it....... But then I look around, and I see a *lot* of the same old same old, and I see the fandom just eats it up.

Ancient, you've been a long time fan as have I... if not longer. Don't you remember what it was like? You'd get some REALLY crap shows, and some REALLY great ones... Not just constant mediocrity. Good enough to keep you watching, but not good enough that you'd really remember..

What I want is more variety. more risks. I want more series that have a planned run beyond the "let's hope we can hook them enough to get more than 13 episodes".

I'd take venus wars if it meant also getting akira. Most anime now seems like it's just checking off boxes, and the best animated series I watched last year came out of china. Anime isn't dying. That claim has been made a million times before... But god damn it, I wish the fanbase wasn't so complacent. I wish it didn't lower its standards as much as it seems to just to justify its sameness across the board....

The biggest thing people say is the problem is the costs and that there's not enough investment in taking chances..

If netflix and amazon are willing to do it, it's not a bad thing. If they fill the gap that CR/Funi fails to, then great.
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Posted 1/31/18 , edited 2/1/18
I think Netflix is slowly getting the hint, but it's hard to teach an old dog new tricks... especially if those old tricks have provided tons of bank for them. Violet Evergarden is a start.... especially with a SimulDub in multiple languages (something even Funimation doesn't do as far as I know, but don't hold me to that).

As a platform I think they have a chance at reaching more people given their worldwide appeal and recommendation/landing page methods. More people interested in anime isn't necessarily a bad thing. It also seems that some of the big "what ifs" aren't a concern in terms of things like shows being stolen and hoarded by Netflix.

Time will tell I suppose. While I don't endorse the binge method for new release... I do feel that it wouldn't be so bad if they released stuff quicker at the minimum if they hold it back. The entry fee is enticing enough I feel versus other recent failures, but also given their catalogue of non-anime movies and shows.
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