It has not been a day or two for Meiman to attack the Japanese market, but it is easier said than done to enter the Japanese market. Since the early 1950s, Meiman's attack on the Japanese market has been walking on three legs. In time, except for DC's "Superman" which sold well in Japan, and also published a monthly magazine in the 1970s, none of the others were successful, and the agents were all over the place, only Shogakukan and Xinchao Club's JIVE were left. The family is dominant; the movie was very effective in the 1950s and 1980s, but it gradually failed in the new millennium. Nolan’s set of Japanese audiences basically did not catch a cold; in terms of Japanese-style manga, in addition to letting Yoshida Ryuo, Ikegami Ryoichi and Koike Kazuo After practicing, and providing Toei with the subject matter of several special films, there is nothing more. On the contrary, the local rivals such as Shogakukan Shueisha Bandai have grown up and compete with themselves for the market in Asia Pacific, Europe and North America. Taking the French market as an example, the originally small American comics market was not only diverted by Japanese comics, but even local French comics were once forced into precarious situations by Japanese comics (now, with Japanese comics falling into meat sales and house corruption, the overseas market is shrinking).

So Americans began to try to use the power of Japanese animation to promote their protagonists. In the past, Americans sold American TV animations to Japan. Except for the TF produced by Toei, the ratings were generally not good. Xiao Xueguan helped the Americans to run the Teenage Mutant Ninja Turtles to broadcast on Tokyo Channel, and repainted the beginning and end of the film and changed the soundtrack. It's all brought out, but it still doesn't work. This time, the tricks of the Americans are actually similar to those in the 1970s. They found a Japanese production company to make animations, and put them in the Japanese market and the niche market of Japanese comic fans in their own countries. The special version of Spider-Man in the 1970s received a good response, and Lao Mei thought of this trick again.

But having said that, I can say two things about the effect. In addition to DC's Batman OVA, which has a good reputation, these films tinkered with by madhouse and marvel are basically a scolding thing in Japan, not to mention being a beautiful manga Adapted works, even as Japanese anime, the script is a mess. The most important thing is that young Japanese people already know the glorious history of their own comics, and they are very picky about foreign comics. Marvel expects to rely on these things to get familiar with them in Japan. I find it difficult.

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