Jman

So, yeah, original cartoons and anime. Who’s paying for it? And who’s writing it?

When there’s more money to go around, the people who generate it should be entitled to some of the wealth. Simple economics from an idealist perspective. Given what anime is generating in profits, the answer is “yes.”

We do shit on DeMarco here a lot, probably a bit too much sometimes, so I’ll say something nice. If he is genuine about what he wants to do, and I see no reason why he wouldn’t be, we could potentially see the end of “action cartoons” that boil down to “JESUS CHRIST SEE A THERAPIST, NO ONE WANTS TO WATCH A SHOW WHERE YOU RELIEVE YOUR TRAUMA OVER NOT GOING TO PROM”. (The fact that multiple shows fit that description shows how utterly sad the Western animation industry can be). In their place, we could see more genuine action cartoons, which in the West tend to be either DC comics stuff, (although Marvel threw their hat into the ring with What If?) or desperately trying to prove they’re anime. Going beyond that would be quite welcome. The problem is stemming from where are the ideas going to come from? Original ideas from Western writers is…yeah, and there’s only so many properties Warner has access to that actually fit the bill. What is he going to remake, Adventures of the Galaxy Rangers? Still, given his long career, I see no reason DeMarco won’t be able to produce something with at the very least, a quality premise. It’s all the other intangibles that worry me, stuff that he wouldn’t have direct influence over.

I've said it before and I stand by it, that because [adult swim] was in a very unique position as the only major long term anime block in the US despite a few competitors that have come and gone, and with that came a very, VERY smug attitude. "We decide what you watch, we decide when it airs, and you're a dumb weeb." It's why "DeMarco's shit taste" is a meme around here, and why the man seems to completely despise streaming services, because they destroyed his powerbase and grip on that subculture.

Anime fans have always had a victim complex of sorts. Late 90s/early 2000s, you kind of get it. Today it just feels…needlessly reductive. That despite being a multi billion dollar industry it’s as fragile as a Faberge egg and the people making money off it secretly despise it and want to destroy it with boring, milquetoast garbage. It’s 2021. I said it in another thread, the days of Shaman King edited to hell for Saturday mornings have been replaced by uncensored streaming in both English and Japanese.

I’m more wondering what DeMarco has to work with now that CR is gone. Is it going to be all originals? With what money? Is he going to dig into the Hanna Barbera license chest? Is he going to make a Sky Commanders anime?

Netflix is the one that loves the bigass robots (yeah they made Voltron but we forgive them. Somewhat). If anyone makes Exaxxion it will be them. I could see DeMarco try to make Bean Bandit a thing.

Update from DeMarco’s Twitter - He’s promising “real anime”, which is definitely shade at their departing friends at CR.

He's a king without a kingdom.

Then - Saturday morning, edited to heck, US theme song. Now - Streaming uncensored, both languages the click of a button. A lot changes in 15 years, huh?

https://www.crunchyroll.com/anime-news/2021/08/09/crunchyroll-now-joining-funimation-global-group?utm_source=community_cr&utm_medium=twitter&utm_campaign=news_en&referrer=community_cr_twitter_news The merger is official. And with the merger comes companies struggling for a piece of the pie. The problem is, where does Toonami get shows from with most of the anime on lockdown from two big companies that don't want to share?

https://www.crunchyroll.com/anime-news/2021/08/09/crunchyroll-now-joining-funimation-global-group?utm_source=community_cr&utm_medium=twitter&utm_campaign=news_en&referrer=community_cr_twitter_news Anime in the US is now a two company war. On one side, the new CR/FUNimation conglomerate, on the other side, Netflix and its endless cash reserves and desire to greenlight just about anything.

JoJo traditionally did very poorly on Toonami while it actually has done considerable business for Netflix. They took a slight dip in the pool with commissioning the Kishibe Rohan spinoff, but here it looks like the middleman has been cut out.

A month’s subscription is cheaper than tickets for those movies at the theater.

Simulcasts for manga. And a way to circumvent delays.

The only reason DeMarco got JoJo was to keep it off Netflix. And it did middling ratings on Toonami but was very successful on Netflix. So it makes sense.

It was mostly on Toonami to play keep away from Netflix. But after Thus Spoke Kishibe Roban became a Netflix exclusive, it made sense they were going to get all the JoJo. DeMarco must be pissed.

You’re not wrong. Same day theater/HBO releases was a desperate move (and one that seriously pissed off just about everybody) but it seems to have worked.

I still remember this insane NYE stunt Adult Swim pulled years ago when they put the first 3 minutes of the ATHF movie on and then put it in a tiny window while constantly advertising it. At this point they oughta do the same with The Suicide Squad.

That or this -

More than 0. It also helps that The Suicide Squad is actually a pretty damn good movie. They let James Gunn go 85% Troma, which is about 50% more Troma than most major studios would ever allow.

Heading out tonight, but let’s be honest, by design this isn’t a night they want you watching Toonami. They want you signing up for HBO Max and putting this on -

Discotek continues to give old heads lots of well, old material.

We all figured we would give it the Onyx Equinox treatment. Ignore it and it will go away.