Plus: Shoji Kawamori joins AI CG animation project; J-pop music producer sees risk in close ties with anime; Top trending anime titles in 2024; and more
Richardson! Thanks for another excellent column. Did you read my Answerman piece on MACROSS? Big West also responded to my enquiries, but I didn’t really get a definitive answer on when it will be available on Disney+ in the USA. 🤷♂️
It is worth noting that only 20 territories currently have MACROSS on their Disney+ avails. I wonder what the hold up is?
Is Three Body Problem becoming China’s new “Monkey King”? The books have been adapted up the wazoo. There’s bountiful, appallingly animated adaptations available on TenCent, mediocre live action movies and a really shit Netflix series from the creators of Game of Thrones. It seems that every quarter there’s some adaptation being announced. It’s a yawn fest. 🥱
I think the Jpop producer has a point. Hitching Japanese Pop and rock artists fortunes to anime and the global fandom is likely a good place to start, but it shouldn’t be the only promotional tool in an artist’s arsenal. Anime fans are not high value enough to sustain a large scale touring artist.
I had a VTuber agency complain to me that anime fans simply don’t bring in enough income for their live concert business and they were hoping to expand their offering into classic rock IP in the same way the team behind ANNA Voyage have done.
I always thought anime fandom was a very decent average annual spend consumers when compared to general entertainment consumers, but that may not be satisfactory enough for those investing in premium entertainment experiences.
I did read your column, Jerome. I had actually forgotten about the Macross deal until your column reminded me of it. That’s why I reached out to my Harmony Gold contact to get their perspective. I’ve also verified with family in Indonesia that Disney+ Hotstar carries the Macross sequels with English subtitles, so I don’t think localization if the hold-up.
“The Three-Body Problem” is a great work of science fiction, so I’m not surprised there is a lot of interest in the IP, but I’ve also read some pieces saying that the political landscape has made any association with China a dampener on investor and consumer interest, so this “global” production is clearly trying to be more palatable to international audiences.
As for anisong live entertainment, I don’t think promoters outside Japan have quite figured out the formula for this yet. At the same time, I don’t know enough about the live music business to understand how they work.
I just want to add that Kawamori-san DOES NOT AGE! How does that happen?! LOL!
Richardson! Thanks for another excellent column. Did you read my Answerman piece on MACROSS? Big West also responded to my enquiries, but I didn’t really get a definitive answer on when it will be available on Disney+ in the USA. 🤷♂️
It is worth noting that only 20 territories currently have MACROSS on their Disney+ avails. I wonder what the hold up is?
Is Three Body Problem becoming China’s new “Monkey King”? The books have been adapted up the wazoo. There’s bountiful, appallingly animated adaptations available on TenCent, mediocre live action movies and a really shit Netflix series from the creators of Game of Thrones. It seems that every quarter there’s some adaptation being announced. It’s a yawn fest. 🥱
I think the Jpop producer has a point. Hitching Japanese Pop and rock artists fortunes to anime and the global fandom is likely a good place to start, but it shouldn’t be the only promotional tool in an artist’s arsenal. Anime fans are not high value enough to sustain a large scale touring artist.
I had a VTuber agency complain to me that anime fans simply don’t bring in enough income for their live concert business and they were hoping to expand their offering into classic rock IP in the same way the team behind ANNA Voyage have done.
I always thought anime fandom was a very decent average annual spend consumers when compared to general entertainment consumers, but that may not be satisfactory enough for those investing in premium entertainment experiences.
I did read your column, Jerome. I had actually forgotten about the Macross deal until your column reminded me of it. That’s why I reached out to my Harmony Gold contact to get their perspective. I’ve also verified with family in Indonesia that Disney+ Hotstar carries the Macross sequels with English subtitles, so I don’t think localization if the hold-up.
“The Three-Body Problem” is a great work of science fiction, so I’m not surprised there is a lot of interest in the IP, but I’ve also read some pieces saying that the political landscape has made any association with China a dampener on investor and consumer interest, so this “global” production is clearly trying to be more palatable to international audiences.
As for anisong live entertainment, I don’t think promoters outside Japan have quite figured out the formula for this yet. At the same time, I don’t know enough about the live music business to understand how they work.