AnimEigo isn't dead yet! THANK YOU
Philip Yff
In article <3462a...@news.pixi.com>, jgas...@leahi.aloha.com says...
[snip]
>No matter how much I wish it could have lived up to expectations, SHIN
>KOR was not up to par with the original series. It contained the right
>ingredients to create a good story, but in the end it was a
>disappointingly tedious movie to sit through. I'm glad Animeigo
>saved their money instead of trying to jump on this one.
So iu na yo! How can you say that? Maybe it's time for me to write a
long, tedious review of the movie <grin>. I thought the movie wrapped up
the series quite well. I thought the time travel was a neat device to
resolve the various loose ends of the manga and TV series. By looking to
the future, the movie could resolve those threads without intruding on
the old stuff. I felt the movie was necessary because I never liked the
way Kyouske and Madoka treated Hikaru in the first movie--they'd all been
friends too long to dump her so unceremoniously.
Mata ato de,
Phil Yff
Philip Yff
In article <63u04o$6...@sjx-ixn5.ix.netcom.com>, math...@ix.netcom.com says...
:>In <3461f9fd...@eskinews.eskimo.com> ra...@cascade.net (Douglas
:>Leonard) writes:
:>>On 5 Nov 1997 00:15:58 GMT, math...@ix.netcom.com(Ryan Mathews)
;>>wrote:
:>>>When they acquire something new, that's when they'll really be back.
:>>I'm hoping for the New KOR movie.
:>Sorry! SHIN KIMAGURE ORANGE ROAD belongs to ADV. It's the epitome of
:>what's wrong in AnimEigo-land. They wanted the rights, and were told
;>what it would cost. AnimEigo replied "forget it", saying it was too
:>expensive. The rights holder (Toei?) said one of their competitors had
;>already agreed to pay that much. "Great! Get the money up front!"
;>Woodhead claimed at AX97 to have replied. I think he was joking, but
;>he did say "no", and so ADV has SHIN KOR.
;>Woodhead says they couldn't possibly turn a profit at the prices being
;>asked for the good stuff these days, but ADV seems to be pulling it off
:>quite well.
In AnimEigo's defense, ADV goes after the racy stuff that the family oriented
Woodhead won't touch. But I've said this before and I'll say it again. The
old paradigm must change. If companies wait until after a successful
Japanese release, the competition is going to force them to pay top dollar.
The solution is for companies to get engaged while an anime production is
still in the planning stage. But the companies are unwilling to do that.
During the industry panel discussion at Otakon, all companies said it
was too risky. My answer was that there's a risk the current way. Companies
are being taken to the cleaners.
Lesley Jenkins
Philip Yff (yf...@wizard.net) wrote:
:
: In AnimEigo's defense, ADV goes after the racy stuff that the family oriented
: Woodhead won't touch. But I've said this before and I'll say it again. The
: old paradigm must change. If companies wait until after a successful
: Japanese release, the competition is going to force them to pay top dollar.
: The solution is for companies to get engaged while an anime production is
: still in the planning stage. But the companies are unwilling to do that.
: During the industry panel discussion at Otakon, all companies said it
: was too risky. My answer was that there's a risk the current way. Companies
: are being taken to the cleaners.
At least one new import house agrees with you. Urban Vision has
established some serious ties with Mad House back in Japan and, if I am
hearing things correctly, is actually co-producing some of the titles they
are releasing. Biohunter being one of the first titles they co-produced.
Les
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
Les Jenkins | The Casual Otaku (http://www.cris.com/~Dream)
dr...@cris.com | Animecca: The Anime Magazine (http://animecca.com)
Stephen Tsai
In article <63v5cs$j...@drn.zippo.com>, Philip Yff <yf...@wizard.net> wrote:
>So iu na yo! How can you say that? Maybe it's time for me to write a
>long, tedious review of the movie <grin>. I thought the movie wrapped up
>the series quite well. I thought the time travel was a neat device to
>resolve the various loose ends of the manga and TV series. By looking to
>the future, the movie could resolve those threads without intruding on
>the old stuff. I felt the movie was necessary because I never liked the
>way Kyouske and Madoka treated Hikaru in the first movie--they'd all been
>friends too long to dump her so unceremoniously.
my attempted followup on the 1st movie. The story takes
place about 11 months after the flashback-ending of the first movie.
We tried to touch on this very issue and provide a better "closure"
for Hikaru.
Shameless Plug: And if you like it, you might like the rest
of the series! :-)
Stephen Tsai
--
--
Kimagure Productions|Nephrite: [Exasperated.] Yes, it's a dark evil mark!
--present-- |
Orange College #31 |Man: [Shocked.] Ahh... I just wanted to know
Sailor Ranma #18 |where the bathroom was.
*Coming Soon* |
Stephen Tsai |Nephrite: ...
st...@netcom.com |Bishoujo Senshi Sailor Ranma #18
http://www.geocities.com/Tokyo/Ginza/1604/
Philip Yff
In article <stsaiEJ...@netcom.com>, st...@netcom.com says...
[snip]
>>I never liked the
>>way Kyouske and Madoka treated Hikaru in the first movie--they'd all been
>>friends too long to dump her so unceremoniously.
>Try reading Kimagure Orange College #24 - Ano Hi Ni Kaerinai,
>my attempted followup on the 1st movie. The story takes
>place about 11 months after the flashback-ending of the first movie.
>We tried to touch on this very issue and provide a better "closure"
>for Hikaru.
>Shameless Plug: And if you like it, you might like the rest
>of the series! :-)
I like Kimagure Orange College, but I've only been able to get my hands on
a few issues. How can I tell my local comic and manga shop how to order it.
BTW, I checked out your website, but got a 404 error connecting to the
KOC info. That could just be a server time-out problem, but I got it
consistently. I noticed your homepage was on a Geocities.com server
whereas the KOC info that I couldn't get to was on a Berkley.edu server.
Mata ato de,
Phil Yff
;>
;>Stephen Tsai
;>
Kenneth B. Miller
Philip Yff <yf...@wizard.net> wrote in article <63v6go$n...@drn.zippo.com>...
> In AnimEigo's defense, ADV goes after the racy stuff that the family
oriented
> Woodhead won't touch. But I've said this before and I'll say it again.
The
> old paradigm must change. If companies wait until after a successful
> Japanese release, the competition is going to force them to pay top
dollar.
> The solution is for companies to get engaged while an anime production is
> still in the planning stage. But the companies are unwilling to do that.
> During the industry panel discussion at Otakon, all companies said it
> was too risky. My answer was that there's a risk the current way.
Companies
> are being taken to the cleaners.
Risky, yes, but considering all the good stuff out there (ie, Mahou Tsukai
Tai, Yuu Yuu Hakashou, and the Gundams) that have yet to be released, I
don't think that the industry is so sparsely populated with quality that
the comanies have that much of a risk. That is compared to the potential
gain.
--
the sanjian
Penninsula Anime Club (P.A.C.)
"Forget, for this moment, the smog, and the cars,
and the restaurants, and the skating, and remember only this.
A kiss may not be the truth, but it is what we wish were true."
<san...@widowmaker.com>
Stephen Tsai
In article <63vsas$c...@drn.zippo.com>, Philip Yff <yf...@wizard.net> wrote:
>I like Kimagure Orange College, but I've only been able to get my hands on
>a few issues. How can I tell my local comic and manga shop how to order it.
Except for a few local stores with whom I have an "understanding",
I doubt most stores will carry the doujinshi. If you go to the
anime cons, I'm around trying to sell them.
Then again, if you already have #2 and #3, you have all the
doujinshi we've been able to put out. Tony Jung, the artist,
has gone on to other things.
Of course, there are many more episodes of fan-fiction; including
the previously mentioned #24.
>BTW, I checked out your website, but got a 404 error connecting to the
>KOC info. That could just be a server time-out problem, but I got it
>consistently. I noticed your homepage was on a Geocities.com server
>whereas the KOC info that I couldn't get to was on a Berkley.edu server.
My WWW home page:
http://www.geocities.com/Tokyo/Ginza/1604
The KOC page:
http://server.berkeley.edu/Anime/KOC
The KOC page has been up for a long time and I was on it just this
afternoon (but it seems to be down right now).
If you're getting a 404, it shouldn't be consistent.
If you're really having problem, then either you can
get them by FTP:
ftp://ftp.cs.ubc.ca/pub/archive/anime-fan-works/KOR/Kimagure-Orange-College/
Or I can e-mail them to you.
Philip Yff
>In article <63vsas$c...@drn.zippo.com>, Philip Yff <yf...@wizard.net> wrote:
>>I like Kimagure Orange College, but I've only been able to get my hands on
>>a few issues. How can I tell my local comic and manga shop how to order it.
>Unfortunately, the KOC doujinshi is a doujinshi (fan-manga).
>Except for a few local stores with whom I have an "understanding",
>I doubt most stores will carry the doujinshi. If you go to the
>anime cons, I'm around trying to sell them.
You'll be pleased to learn my store carries issues #2 and #3. The
quality is excellent for a doujinshi.
[snip]
Philip Yff
In article <01bcec0f$5e66ef00$089aa1ce@kennethm>, "Kenneth says...
[snip]
>Risky, yes, but considering all the good stuff out there (ie, Mahou Tsukai
>Tai, Yuu Yuu Hakashou, and the Gundams) that have yet to be released, I
>don't think that the industry is so sparsely populated with quality that
>the comanies have that much of a risk. That is compared to the potential
>gain.
Anything Gundam is going to automatically sell. Animerica shows the
Gundam ZZ memorial box as the current number one seller in Japan.
However, before they were released, one did not know how popular
Mahou Tsukai Tai or Yuu Yuu were going to be. I suggest that instead of
waiting for them to be hits and paying top dollar, get in at the start,
pay a lower price, share some of the production and marketing risk and have
an earlier release outside Japan.
Guess what the number 2 seller in Japan is according to Animerica.
You're Under Arrest, Volume 5.
If I were AnimEigo, I would have offered to work on the TV series
with the Japanese producers right from the start. I don't know that
AnimEigo didn't do this, but I doubt it.
Mata ato de,
Phil Yff
producers
Philip Yff
In article <19971108053...@ladder02.news.aol.com>, adfe...@aol.com
says...
>Animeigo will be occupied for most of 1998 with the work on KOR, for
>which I'm very glad. (I preordered a set). Since this was such a success,
> do you think that once it's released and all work is done, Animeigo would
>be willing to consider another petition for release of the fan favorite
>series Marmalade Boy? Please don't think I mean right away, but if the
>KOR release goes wel. Those of you who do know Mr. Woodhead, or Robert
>yourself (if you're reading this), what are the chances of this series
>release on LD to keep you occupied for 1999 or 2000?
The risk averse AnimEigo is probably going to cringe at the thought of
trying to market Marmalade Boy. Although a well done series, interest in
it is probably going to be confined to a small circle of devotees.
Philip Yff
In article <01bcec0d$fa578160$089aa1ce@kennethm>, "Kenneth says...
[snip]
>BTW, the way Kasuga and Ayukawa treated Hikaru-chan is the only way they
>could have. Friends or not, the triangle had to be broken (and if not
>unceremoniously dumped, how did you want him to dump her, televised?).
Neither Madoka nor Kyouske wanted to confront Hikaru. When eventually
Kyouske did, he handled it clumsily. In my mind, Hikaru emerged as the
most sympathetic character saying that her affection for Kyouske enabled
her to do anything. And then the movie shows her bouncing back. The
wimpy Kyouske and Madoka don't even have the courage to see her production.
The way I would have done it is through a secondary story line where
Hikaru comes to realize the truth gradually and eventually things break out
in the open. It would have been a remarkable opportunity to show the
internal struggles in all characters leading to a bitter sweet ending.
I don't demand that the ending be satisfying. I do expect it to be well
handled. In my estimation the ending of the first movie was clumsy and
failed to exploit the opportunities. The strength of KOR had been in the
characters it had presented. But what did we get from the first movie.
"Goodbye Hikaru. Let me slam the door in your face so the movie need not
explore the complexity of the issues."
Jeff Gaskell
Philip Yff wrote:
> Neither Madoka nor Kyouske wanted to confront Hikaru. When eventually
> Kyouske did, he handled it clumsily. In my mind, Hikaru emerged as the
> most sympathetic character saying that her affection for Kyouske enabled
> her to do anything. And then the movie shows her bouncing back. The
> wimpy Kyouske and Madoka don't even have the courage to see her production.
So far I agree here.
>
> The way I would have done it is through a secondary story line where
> Hikaru comes to realize the truth gradually and eventually things break out
> in the open. It would have been a remarkable opportunity to show the
> internal struggles in all characters leading to a bitter sweet ending.
ok...
>
> I don't demand that the ending be satisfying. I do expect it to be well
> handled. In my estimation the ending of the first movie was clumsy and
> failed to exploit the opportunities. The strength of KOR had been in the
> characters it had presented. But what did we get from the first movie.
> "Goodbye Hikaru. Let me slam the door in your face so the movie need not
> explore the complexity of the issues."
AUGH!!! Movie 1 was so effective because it was so true in dramatizing
how these things happen. The only fault I can find with the first movie
is that it doesn't really fit with the spirit of the original series.
But taken on its own, it was a painfully accurate portrayal of a love
triangle involving 3 close friends and was full of complexity as well as
restraint. I think you're confusing Kyosuke's awkwardness in the film
with awkward storytelling.
The manga has a different resolution to the love triangle. One that
would probably satisfy your need for a more balanced ending. Hikaru has
a little more of Ayukawa's toughness and isn't so childish as the TV
series makes her out to be. I won't elaborate details in case anyone
hasn't seen the TV series or read the manga, but the manga ending
resolves the issue quite differently from the first movie.
--Jeff Gaskell
Philip Yff
In article <3464BC...@aloha.com>, Jeff says...
[snip]
>The manga has a different resolution to the love triangle. One that
>would probably satisfy your need for a more balanced ending. Hikaru has
>a little more of Ayukawa's toughness and isn't so childish as the TV
>series makes her out to be. I won't elaborate details in case anyone
>hasn't seen the TV series or read the manga, but the manga ending
>resolves the issue quite differently from the first movie.
I like the manga ending, but then I like the Shin KOR ending, too.
The Shin KOR ending is not inconsistent with either TV, manga, or
first movie endings.
Philip Yff
In article <346571...@aloha.com>, Jeff says...
>Paul Lampshire wrote:
>> I kind of half agree and half not. Yes Lone Wolf and Cub is a classic - no
>> arguments there. However, how do you think UK Customs would react if I
>> tried to import it?
>Not sure what you mean by that...Is their a customs regulation against
>killer baby carts or something?
There is strong censorship. You can't import stuff without getting the
approval of the BBFC first. Although someone in the UK could have stuff
mailed from a US friend, if caught there would be stiff penalties.
Stuart Gale
In article <644sbf$9...@drn.zippo.com>, Philip Yff <yf...@wizard.net>
writes
Not strictly true. You need a tape to have BBFC classification if you
want to sell it over the counter in a shop. However, if you want to
import a film for your own use, then classification is not needed. What
this means is that you have the unusual situation of companies selling
unclassified LDs and having to keep their stock in another EC country
(since most of them *don't* have such a stupid system).
However Customs can still seize material if they deem it to be
pornographic for example.
--
Stuart Gale
stu...@fianna.demon.co.uk
"He looks even more like the princess with the cat around him"
El Hazard
Lesley Jenkins
Kenneth B. Miller (san...@widowmaker.com) wrote:
: >
: > At least one new import house agrees with you. Urban Vision has
: > established some serious ties with Mad House back in Japan and, if I am
: > hearing things correctly, is actually co-producing some of the titles
: they
: > are releasing. Biohunter being one of the first titles they co-produced.
:
: Somehow that didn't help the argument any.
Why do you say that? Don't care for much of what Mad House has done?
Jeff Gaskell
Philip Yff wrote:
> I like the manga ending, but then I like the Shin KOR ending, too.
> The Shin KOR ending is not inconsistent with either TV, manga, or
> first movie endings.
True, it tied up the loose ends effectively through flashbacks. For me,
it was a functional movie with it's heart in the right place, but it
felt empty--no real emotional payoff on my part. It has it's big
emotional scene (no spoilers here) but it just didn't do it for me.
Maybe it was because I had lost interest in Kyosuke and Madoka as a
couple--or since it was already determined in the future that they would
be together, there was no anticipation.
--Jeff
Kenneth B. Miller
Lesley Jenkins <Dr...@cris.com> wrote in article
<6473cp$h...@examiner.concentric.net>...
>
> Kenneth B. Miller (san...@widowmaker.com) wrote:
> : >
> : > At least one new import house agrees with you. Urban Vision has
> : > established some serious ties with Mad House back in Japan and, if I
am
> : > hearing things correctly, is actually co-producing some of the titles
> : they
> : > are releasing. Biohunter being one of the first titles they
co-produced.
> :
> : Somehow that didn't help the argument any.
>
> Why do you say that? Don't care for much of what Mad House has done?
No, just Biohunter.
Ryan Mathews
In <346374...@aloha.com> Jeff Gaskell <jgas...@aloha.com> writes:
>Philip Yff wrote:
>
>>I thought the movie wrapped up the series quite well.
>
That pretty much sums up why I didn't like SHIN KOR myself. Seeing the
characters as adults was uninteresting for the most part, and
depressing for the rest. I'm not interested on what happens after
Kasuga and Madoka grow up. "And they all lived happily ever after" is
good enough for me.
I didn't like the sappy, tear-jerking mood of the movie (the same
complaint I had with the first movie), and I thought it a bit of a
stretch how every damned character in the anime is an overachiever.
Kasuga's shooting pictures in Bosnia, Madoka's attending a fancy
European college, Whatsisname is a famous hentai manga artist, and
Hikaru is trying out for the cast of "Fame 2".
I would enjoy a KOR movie if they would try to recapture the spirit of
the original series, instead of being so DOWN.
(Nonetheless, as a fan of KOR in general, I still think it's a shame
that ADV and not AnimEigo got the rights.)
--
---------- Ryan Mathews
---------------------------------------------------------------------------
Email: math...@ix.netcom.com
Fan-Fiction Website: http://soyokaze.biosci.ohio-state.edu/~mathews/
Read my anime website review column, "Last Exit Before Toll"!
On the Anime Web Turnpike: http://www.anipike.com/lastexit.html
---------------------------------------------------------------------------
Philip Yff
In article <648fkm$b...@dfw-ixnews11.ix.netcom.com>, math...@ix.netcom.com
says...
>In <642ag0$6...@drn.zippo.com> Philip Yff <yf...@wizard.net> writes:
:>>The risk-averse AnimEigo is probably going to cringe at the thought of
;>>trying to market Marmalade Boy. Although a well done series, interest
:>>in it is probably going to be confined to a small circle of devotees.
;>So? The way AnimEigo plans to market KIMAGURE ORANGE ROAD (LDs only
;>for preorder and in two huge expensive chunks, tapes priced at an
;>unattractive $40), they're only going to sell *that* series to a circle
:>of devotees, albeit a slightly larger one.
AnimEigo is not only risk averse but unimaginative. There is far more
marketing opportunity for KOR TV than AnimEigo appears willing at this time
to exploit.
Lesley Jenkins
Kenneth B. Miller (san...@widowmaker.com) wrote:
: > Why do you say that? Don't care for much of what Mad House has done?
:
: No, just Biohunter.
Personally, I rather enjoyed Biohunter. Anyway, I said that was the first,
not the only one they've co-produced. :-)
Ryan Mathews
In <642ag0$6...@drn.zippo.com> Philip Yff <yf...@wizard.net> writes:
>
>The risk-averse AnimEigo is probably going to cringe at the thought of
>trying to market Marmalade Boy. Although a well done series, interest
>in it is probably going to be confined to a small circle of devotees.
So? The way AnimEigo plans to market KIMAGURE ORANGE ROAD (LDs only
for preorder and in two huge expensive chunks, tapes priced at an
unattractive $40), they're only going to sell *that* series to a circle
of devotees, albeit a slightly larger one.
Lesley Jenkins
David Van Cleef (d...@gol.com) wrote:
:
: But they do not appear to have the rights to Perfect Blue, the new Mad House
: film, which is easily the best anime film of the year thus far, Mononoke
: Hime and End of Evangelion notwithstanding.
I've not heard anything official on it either way from anyone as of yet so
while it may appear they don't have the rights, I wouldn't rule them out
of acquiring them. :-)
Invid fan
In article <64bu83$a...@drn.zippo.com>, Philip Yff <yf...@wizard.net> wrote:
> In article <64btb0$qqv$1...@arlington.pe.net>, g...@arlington.pe.net says...
>
> [snip]
>
> > Now, I'm
> >not saying that GitS is a better movie than SKOR (or vice versa), just
> >that it is of the type that has made/will make more money, hence is worth
> >more. We're capitialists here folks, the point is to make money.
> >AnimEigo KNEW it couldn't make a profit for SKOR at a million dollars, and
> >ADVision is run by idiots with delusions of grandeur, and therefore
> >overpaid for the title.
>
> I think SKOR will turn a profit. It is the type of movie that will sell
> for a long time. It may not give a quick return on investment, but it
> will continue to make money long after its initial release. Ironically,
> the release of KOR TV by AnimEigo will help ADV sell SKOR.
>
I'm wondering, what else is in the catalog of the company that sold ADV
SKOR? Could ADV have overpaid so as to get an inside track on future
projects?
--
Chris Mack "...any occult ritual ought to involve
'Invid fan' (a) nudity
(b) wearing a bad hat, and
In...@localnet.com (c) assuming an uncomfortable and ludicrous
position"
-Penn and Teller
Invid fan
In article <64buf5$rav$1...@arlington.pe.net>, g...@arlington.pe.net (Geoffrey
Scott) wrote:
> Despite it's flaws, I *LIKE* the MPAA, as
> well as the other systems (the TV ratings system, the videogame rating
> system, the "Parental Advisory-Explict Lyrics" labels on CDs), and every
> country should have a similiar system, as long as it doesn't censor
> things, and, perferrably, is voluntary. (I also think the MPAA is getting
> softer in each passing year. Boogie Nights, The Devil's Advocate, and
> Starship Troopers are all VERY borderline NC-17's, but they all got R's.)
>
This has to do with how powerful the studio is. When John Carpenter's 'The
Thing' was filmed, it was originaly rated X. The studio went to the MPAA
and said, basicly, "we pay your salery, and don't want to edit this." Next
thing you know, they changed it to an R. Also the Marlin Brando film 'Last
Tango in Paris' was changed from X to R without editing, after it won an
Acadamy Award.
Philip Yff
In article <invid-ya02408000...@snews.zippo.com>,
in...@localnet.com says...
[snip]
>I'm wondering, what else is in the catalog of the company that sold ADV
>SKOR? Could ADV have overpaid so as to get an inside track on future
>projects?
If they are generous, they will always be taken seriously. However, in
talking to them at Otakon, I think their motivation is more that they want
to be recognized as a legitimate force in the industry. Thus, they need
the titles that command respect. Obviously EVA is one, SKOR another, and
the Slayers movies a third.
Geoffrey Scott
Stuart Gale (stu...@fianna.demon.co.uk) wrote:
: In article <644sbf$9...@drn.zippo.com>, Philip Yff <yf...@wizard.net>
Whenever I hear tales like this I cannot resist doing a GOD BLESS AMERICA.
(Sorry.) Nothing is de facto banned in the United States, other than
child pornography (the definition of which, annoyingly enough, is growing
day by day, but we have an almost-sane Supreme Court to kick Congress'
butt on this subject matter). Despite it's flaws, I *LIKE* the MPAA, as
well as the other systems (the TV ratings system, the videogame rating
system, the "Parental Advisory-Explict Lyrics" labels on CDs), and every
country should have a similiar system, as long as it doesn't censor
things, and, perferrably, is voluntary. (I also think the MPAA is getting
softer in each passing year. Boogie Nights, The Devil's Advocate, and
Starship Troopers are all VERY borderline NC-17's, but they all got R's.)
Geo
Philip Yff
In article <64btg4$qtj$1...@arlington.pe.net>, g...@arlington.pe.net says...
[snip]
>: >The solution is for companies to get engaged while an anime production is
>: >still in the planning stage. But the companies are unwilling to do that.
>: Actually, ADV apparently put up money for Burn Up W, didn't they?
>And wasn't GitS coproduced by Manga?
Yes, on both accounts. Macross Plus also received some US financing and
Plastic Little received UK backing before its release. However, these
are exceptions that are done on a project by project basis. I'm advocating
a long term partnering strategy.
Philip Yff
[snip]
> Now, I'm
>not saying that GitS is a better movie than SKOR (or vice versa), just
>that it is of the type that has made/will make more money, hence is worth
>more. We're capitialists here folks, the point is to make money.
>AnimEigo KNEW it couldn't make a profit for SKOR at a million dollars, and
>ADVision is run by idiots with delusions of grandeur, and therefore
>overpaid for the title.
I think SKOR will turn a profit. It is the type of movie that will sell
for a long time. It may not give a quick return on investment, but it
will continue to make money long after its initial release. Ironically,
the release of KOR TV by AnimEigo will help ADV sell SKOR.
Mata ato de,
Phil Yff
Kenneth B. Miller
Philip Yff <yf...@wizard.net> wrote in article <64dguv$e...@drn.zippo.com>...
> If they are generous, they will always be taken seriously. However, in
> talking to them at Otakon, I think their motivation is more that they
want
> to be recognized as a legitimate force in the industry. Thus, they need
> the titles that command respect. Obviously EVA is one, SKOR another, and
> the Slayers movies a third.
What, New Angel, Rei Rei, and Dragon Pink don't command respect?
Seriously, I don't think they got serious about anime until Nuku Nuku.
Philip Yff
In article <01bcf0a2$975612e0$139aa1ce@kennethm>, "Kenneth says...
[snip]
>Seriously, I don't think they got serious about anime until Nuku Nuku.
I like the Yohko series. The first Yohko was close to being their first
anime if not their first.
Mata ato de,
Phil Yff
Kitaaaa! Tsui ni kita no yo, kono toki ga!
It came! At last, it has come, this moment!
Kusetsu juu-roku nen, itsuka wa kitto to omoitsuzukete,
Sixteen years suffering, [this is] the time surely I have been
continuing to long for
Kokoro no naka de wa, mou hanbun akirame kakete ita yume ga,
In my heart, I have been half [decided on] giving up or pursuing
the dream!
Suteki na tonogata to meguri au to iu yume ga, imaaaaaaa!
The dream which NOOOWWW comes true to meet a splendid
lord!
Mamono Hantaa Youko
Devil Hunter Yohko
Ryan Mathews
In <64g3lp$d...@drn.zippo.com> Philip Yff <yf...@wizard.net> writes:
>
>I like the Yohko series. The first Yohko was close to being [ADV's]
>first anime if not their first.
Matt Greenfield has said at conventions that he and the others behind
what was then A.D.Vision started the business specifically to release
DEVIL HUNTER YOHKO, which they didn't think anyone else would do.
(About the name: They've changed everything to "ADV Films" except the
logo graphic sequence on the tapes. I wonder when they'll get around
to that...)
Travis Butler
In article <648fkm$b...@dfw-ixnews11.ix.netcom.com>,
math...@ix.netcom.com(Ryan Mathews) wrote:
>Subject: Re: AnimEigo isn't dead yet! THANK YOU
>From: math...@ix.netcom.com(Ryan Mathews)
>Organization: Netcom
>Date: 11 Nov 1997 02:24:22 GMT
>Newsgroups: rec.arts.anime.misc,rec.arts.anime
>
>In <642ag0$6...@drn.zippo.com> Philip Yff <yf...@wizard.net> writes:
>>
>>The risk-averse AnimEigo is probably going to cringe at the thought of
>>trying to market Marmalade Boy. Although a well done series, interest
>>in it is probably going to be confined to a small circle of devotees.
>
>So? The way AnimEigo plans to market KIMAGURE ORANGE ROAD (LDs only
>for preorder and in two huge expensive chunks, tapes priced at an
>unattractive $40), they're only going to sell *that* series to a circle
>of devotees, albeit a slightly larger one.
Every time I see a comment like this, it makes me wonder how much the
poster knew about the context and history of the KOR TV project; I'm
especially surprised to see this kind of comment from you, Ryan.
It seems pretty obvious to me that the KOR TV production has been driven by
the petition process. IIRC (and I was keeping at least a casual eye on the
story for a year or two before AE put up the preorder signup) AE was
interested in KOR TV but didn't think they'd make enough sales to justify
doing it; that's when KOR fans started circulating petitions to show AE the
sales were there. When the fan petitions showed a fair amount of support,
AE put up the preorder sign-up, and agreed to do the series if they got
1500 preorders.
Given this, I'd say it's just gravy (even if it's not terribly surprising)
to see AE continue to make the tapes available after the pre-orders are
filled. (And it makes sense to me that the LD's would be preorder only,
since [I think] tapes can be duplicated in very small lots, versus the
large pressing runs needed for LD's) The main emphasis was on getting
enough preorders to financially cover the series; any availability beyond
the pre-sold copies was an afterthought. Not the traditional video
marketing setup, since the project/production/format is geared towards
filling the preorders; any distribution afterwards through traditional
channels is, like I said, an afterthought.
I think the history of the project bears out Philip's comments about AE
being risk-averse, or at least very cautious about bringing some series to
market; at every point, the aim has been a specialty project paid for by
preorders, not a general release, and the format of the 'afterthought'
general release has obviously been shaped by the preorder set.
Given this... might a similar strategy be reasonable for MB, assuming
Woodhead likes the show well enough to do it?
(Please respond by e-mail as well as posting; my newsfeed has been *very*
sporadic for the last month. :( By the same token, if someone else has
brought up this point in a message I haven't received, my apologies for the
redundancy.)
Mike Breen
On Sat, 15 Nov 1997 00:14:19 -0600, tbu...@tfs.net (Travis Butler)
wrote:
>I think the history of the project bears out Philip's comments about AE
>being risk-averse, or at least very cautious about bringing some series to
>market
It all boils down to what Woodhead invisions AE to be. If he wants
them to be a major force in the market, a company that can compete
with the big three, then he's gonna _have_ to take some risks. ADV
took a big risk with the high sum they paid for Eva. If Eva flopped
(and I don't care how big it was in Japan. The West is a different
market. It very well _could_ have flopped) then those "ADV is
bankrupt" rumors could very well have been true. But it caught on and
the gamble paid off. Now ADV has got boatloads of cash and have
emerged as the #1 player (have they beat out Viz? I'm not sure, but I
wouldn't be suprised). OTHO, if Woodhead wants AE to be a fringe
company catering to a fringe audience, then I guess he's going about
it the right way, but personally (and speaking strictly as an anime
fan), I find it kinda insulting that he dosen't have enough faith in
the industry or fandom to justify taking risks, or releasing anything
without guaranteed sales, wheather or not he wants to cater to a
larger audience or a fringe.
---Mike
To send me legitimate non-spam mail, replace
"NO_SPAM" in the domian with "channel1"
Visit the Craving Orange homepage at:
http://user1.channel1.com/users/mikeb
Mike Breen
On 17 Nov 1997 13:45:08 -0800, Philip Yff <yf...@wizard.net> wrote:
>The disappointing thing from my perspective is that when AnimEigo first
>started out some seven years ago, they were not afraid to take risks.
Oh, definitely. AE practicaly _invented_ the industry.
>If AnimEigo goes back to being visionary in support of commercially released
>Japanese animation in the US, I'm convinced they will continue to be successful.
There's no reason why they shouldn't. If Woodhead dosen't like the
way the industry is going, then hell, he should work to change it.
I'm sure every friggin' fan's got ideas of what he or she would do if
they had his job for a month. Woodhead _owns_ AE. He's in a position
to work to increase the awareness of anime to the general public and
new fans, by making titles that _aren't_ blood-guts-and-sex _redily_
available to them. A series like KOR could potentially go a long way
dubbed and broadcast on cable (especially with the 80's nostalgia
that's creeping up on us like a fungus. Let's face it, KOR screams
80's).
>There are a lot of us out here who appreciate AnimEigo's contributions to
>the industry and respect their quality.
I'm forever thankful to them for my BGC subs. Of course, I'll never
forgive them for the BGC dubs.
>Today, there are a lot of good products produced by firms other than
>AnimEigo. However, our loyalty to AnimEigo runs deep in spite of recent
>decline in output.
Except that AE can't take the "if you build it they will come"
attitude. You've got to let them know it's there.
>I ask that AnimEigo put their trust in us--the customers--and not fancy
>petitions. I appreciate the outcome of the KOR TV poll. Yet, I did not
>think it was necessary in the first place.
Absolutly not. Remember, there's still over half of America that's
not on-line. That means that if we go by the statistics, over 2600
people would be interested in the KORTV set. But at $40 a pop, it's
just too damn much. I agonized about getting "Crusher Joe" 'cause it
was so damn expensive, even though it seemed tailor-made for my
tastes. It took a $10 Suncoast cupon _and_ this week-end's Producer's
Club sale to get it in the house. I simply couldn't justify spending
almost $30 on a whim.
>The risk averse AnimEigo disagrees, but I stand firm in my belief.
Woodhead's gonna have to take a good, long look at the industry and
rethink a _lot_ of things, IMO. This year _alone_ we got two new
players in Urban Vision and Right Stuf. Now while I don't think UV's
got a clue as to how to run things, Right Stuf has been around for a
while as a mail-order firm, right? So they know the industry and what
to expect. If Woodhead dosen't want AE to be pushed out of the
business, he's gotta do something. The world's not gonna wait on the
chance that AE _may_ get BGCTV.
Anime17361
Did anyone see the Dagger of Kamui? That was the weirdest movie i saw from
AnimEgo. Also they had stupid previews for the Aliens thing.