Is it possible for crowdfunding to find a Japanese animation company for animation? It may just be a kind of "giving money" behavior

giant is so bad, can the follow-up animation change the plot?

doors are not.

is actually there in theory, but looking at the MAPPA responsible for the production of the final season, the finished product seems to want to directly describe the original work, presumably as long as the original author does not speak, they will never be able to make a shred of the original plot. change.

How about crowdfunding to remake an animation?

doors are not. In fact,

is theoretically available, but the animations produced by doing so are basically self-entertainment and have almost no commercial value. And the crux of the problem is that the animation copyright must be obtained from the copyright owner first.

If someone thinks that "you can do it with money", then most of them are victims of "funding theory".

The animation company is actually a younger brother, but now he is thinking about how to send money to the animation company? The idea of ​​

itself is actually quite good. After all, everyone in the animation industry is doing the same job, working for a mobile game company, and the salary must be at least three or four times that of doing animation. If you can send more money to the animation company, at least It is possible to improve the quality of life of animators.

I don’t know how many viewers once thought that to make an animation adaptation, the animation company would negotiate with the copyright owner, make it after negotiating, and finally make money and split the account according to the contract?

This is simply a fantasy in the 21st century. Even for original TV animations, most of them need sponsorship to set up a production committee to start work. The animation company fought a bloody way without the support of the original work, just to take the copyright in their own hands.

But if it's an animation adaptation, it means that these "crowdfunding audiences" have to stand on the production committee themselves. And there are only two paths, either become the production committee by yourself, or join if you can't beat it, but either one is difficult.

all say that the current animation is very poor, especially lack of funds, in fact it is true. Now doing more than ten episodes of animation in a quarter, the budget is about 200 million to 300 million yen, and it is 20 million yuan if you die. For a commercial project, it is indeed not a big investment.

But "audience crowdfunding" and commercial projects are two different things. The animation industry has its own operating modes and rules. If you want to break these modes and rules, it is not a measurable issue of "production costs".

The famous American streaming media platform Netflix is ​​a good example. Like Cygames, a domestic game company in Japan, it is one of the few companies that has hit the Japanese animation industry with funds. However, the animation invested by the former is not purely aimed at the Japanese market, or even mainly aimed at the Japanese market, while the latter basically hires people to work on its own IP.

More importantly, the investment of these two companies is a commercial operation, and they do not simply conflict with the traditional production model. Among them, Cygames of the latter set up its own animation studio soon after figuring out the way, and also acquired a background art company, and quickly integrated into the industry.

So you can see the subsequent "Princess Link Re: Dive", even if there is no "funding story" spread all over the streets, it is still an excellent animation.

For commercial animation, timing is also a factor to consider. To put it bluntly, strike while the iron is hot.

To give the simplest example, April 2020 was originally in the same schedule, the second season of "Miss Kaguya Wants Me to Confess" and the final chapter of "Sword Art Online Alicization" produced by A-1 Pictures, the latter Due to the impact of the epidemic, the broadcast was delayed until July, and the former was released as scheduled.

As the dark horse animation in 2019, "Miss Kaguya Wants Me to Confess" obviously does not have the same background as "Sword Art Online", but neither of them can become the sacrifice objects of A-1 Pictures. How to choose is self-evident metaphor.

Looking back, even though "Attack on Titan" has been serialized for more than ten years, the copyright owner obviously still attaches great importance to the double explosion of the ending of the original work and the final season, otherwise it will not be released before the ending. Arrange the animation early.

Even if there is a crowdfunding for the audience now, and then successfully send money to the hegemonic agency Wit Studio, it will be at least three or four years later when the animation is made when the construction schedule is scheduled. From the point of view of business planning, its effect is undoubtedly greatly reduced, so this behavior is called "self-entertainment" at the beginning of the article.

This is the second characteristic of the environment in which the Japanese animation industry lives today, which is the tightness of production capacity.

Although it is said that the remuneration of animators has not improved much compared to that year, it may even decline under inflation. However, the production capacity of Japanese animation companies, especially the production capacity of some famous animation companies, has been full for a long time.

Thanks to the development of animation markets in China and Europe and the United States, Japanese animation, which is already low in cost, has become more and more reckless in its establishment and planning. Anyway, as long as the broadcasting rights can be sold in these two markets, it is basically Already invincible.

As a result, Japanese animation has become overwhelming momentum today, but behind the multiple increase in the number of works, the domestic animation production capacity in Japan has not been improved decisively. Nowadays, animation outsourcing in China and South Korea has become an important lifeline, and even in salary Compared with the treatment, Japanese animation talents have also begun to lose some.

As the saying goes, time is money. If you want to buy an animation company's schedule, you either have to spend your own time to wait, or you have to pay more money, but the latter is basically an impossible option. How much money can make the animation company make the choice of "he gave too much" is a question that no one has ever considered.

"Crowdfunding to reset the giant final season" is whimsical, but by analyzing the reasons why this idea cannot be realized, we can also see the operation mode of the Japanese animation industry today. Although the production committee has been criticized by many people outside the industry every three to five, but based on Japan's national conditions and the profit model of Japanese animation itself, even though the traditional revenue from selling CDs has gradually declined, this system is still unshakable.

Even though Kyoto, which has been running its own library for a long time, and has "magically modified" several popular animations from it, still has not fundamentally got rid of the shackles of this model, and many of their efforts are just attempts. Get more initiative from the copyright level.

As for domestic investors, not to mention audiences who want to crowdfund for animation, even if a company with a name or a surname invests in the absence of access, it may really just become a kind of "send money" Behavior.

When the time comes, you will deeply understand that funding is indeed not the only factor that determines the quality of an animation. "Azur Lane" with "sufficient funding" is the best example.

But if it is a crowdfunding audience, it may take the money and don't know how to send it to the animation company.

text: lock