Wit studio gave up the production of the final season of the giant, which made many giant fans feel sorry and puzzled. There are many complicated factors, but the main reason is that they don't make money + have no energy. Not making money does not mean that the giant project does not make money, but for the current wit, the production of giants has not been able to make too much profit.
In 2012, after P.IG completed the production of "Guilty Crown", IG.port announced the establishment of a subsidiary wit studio to produce "Attack on Titan". The main members of the company in the early days were the staff who participated in the production of Guilty Crown's original 6 lessons. . As a nascent animation company, wit's lack of initial funds and manpower makes it impossible to support it to complete such a huge masterpiece as a giant, so the PIG behind him plays a key role. P.IG relies on its own network and reputation to pull the giant's animation production rights. It not only joined the production committee as one of the investors, but also cooperated with animation production. It has provided both financial resources and a lot of manpower and material resources to support wit. It can be said that the success of Giant Animation's P.IG is indispensable, and wit has become famous because of it.
The success of the first phase of Giant Animation brought huge profits, and even allowed P.IG to reverse its continuous loss and achieve profitability. Wit, the son of P.IG, can also enjoy a part of the share. However, in the second season of Giant Animation, the sales of discs dropped seriously, from 5W+ in the first season to 7000+, and in the third season 1,2 fell to 4000+ and 3000+. Although the production committee does not only make profits from the sales of CD-ROMs, the previous CD-ROM revenue is a major source of revenue, and the sharp decline in CD-ROM sales will also lead to loss of revenue. After all, there are still holes to fill. From the first season to the third season of Giant Animation, wit failed to enter the production committee, and was just a part-time worker from beginning to end, taking an animation production fee. It is equivalent to the company participating in the investment to pull in a large project. After the project team is completed, the top management of the company will take the big bucks and give the project team some bonuses. wit is the project team, which spends a lot of energy but can only get one hard fee. The goal of getting both fame and fortune through the giant has been achieved, but the animations that I have made with great effort cannot enjoy the various copyright income share that it brings. No one would want to continue doing such a thankless job.
However, it is not WIT who has the final say on whether or not to accept the giant's final season. It has to be discussed with the parent company IG before a decision can be made. For P.IG, which ranks third in the production committee, the majority of the profits brought by Giant Animation in the follow-up are obtained by the top two players, Polly Jiayin and Kodansha. They not only have to contribute financial resources and manpower, but also It's not too cost-effective to take part of the production risk of WIT and only get a small profit in the end. It is not a bad thing if another company takes over and you only participate in the investment and enjoy the success. It can be seen from the 2020 financial statement released by IG PORT that the copyright income of Giant Animation can continue to bring benefits.
However, in the performance forecast for 2021, IG will focus on generating revenue from wit studio's original animation "The Great Deceiver" and the manga adaptation of "Ice Sea War" and other aspects. After all, a good original animation can bring more 's earnings. In Mangai Binghai, P.IG ranks second in the production committee, and WIT ranks third, and its position is more important than that of the giants.
There are not many animation companies that can take over the final season of Giant, but for large and medium-sized companies, Giant is a piece of cake that others have eaten and only the end is left. Compared with the previous production company, if you are careless in production, you will be scolded and your reputation will be damaged, which is not worth the loss. And those small companies with insufficient qualifications cannot guarantee the production quality of the giant, and will only smash the giant's brand. And MAPPA is the most suitable company to take over.
MAPPA was established in 2011, only one year before wit. The founder, Maruyama Masao, is one of the founders of madhouse. In 2011, after the parent company of Mad House sold Mad House to Nippon TV due to serious losses due to the financial crisis, Maruyama Masao resigned from Mad House to found MAPPA. Maruyama is a well-known veteran animation producer with rich animation production experience and connections. The first work after the establishment of MAPPA is "Apollo on the Sakamichi", which is a collaboration with Tezuka Production. Although it is a low-cost literary youth film, the dream combination of Shinichiro Watanabe and Yoko Kanno is also dazzling enough. After that, the women's tennis department, "The First God Fist" in cooperation with madhouse, and his first original animation "Tokyo Reverberation" all took the low-cost niche route. Although they did not become famous, MAPPA's excellent production quality is still in The industry has won a good reputation.
In 2014, MAPPA ushered in two major productions. The animation "The Engraving of the Tooth Wolf" derived from the special film "Tooth Wolf" under the Northeast News Agency was handed over to MAPPA, and the game "Bahamut" owned by the mobile game maker Cygames. Anger" animation adaptation also found MAPPA. This is not only obtained by Maruyama's network and popularity, but also by the recognition of the mappa production level by major manufacturers. Baja is an animation wholly owned by CY (big guys are rich and willful), the main purpose is to advertise Baja games, there is sufficient funds to burn mappa, and mappa does not live up to expectations, making Baja the most money-burning animation of the year. Although this animation investment is destined to lose money in the end, for the poor CY who only has money left, the little money for animation is just a drop in the bucket of game income. The same is true for Fanglang. Anyway, Northeast News Agency and CY are not bad, and they have enough money to let mappa play to the fullest. The two animations failed to give mappa too much fame, but it allowed the industry to see the strength of mappa. The two big bosses of Northeast News Agency and cy also deepened their cooperation with mappa. In 2016, mappa's original animation "Yuri on Ice" came out and became the dark horse of the year, with shocking CD sales.
In the same year, the theater animation "In this Corner of the World" produced by MAPPA was released, and it beat "Your Name" to become the first Japanese film of the year (the Japanese Film Junbao Award is the most authoritative award and the highest honor for Japanese films.)
An original animation made mappa a lot of money, and a theatrical version made mappa the highest praise in the industry, which can be said to be both fame and fortune. After two years of wandering, the original animation "Saga Idol is Legend" co-operated by mappa and cy has once again become the dark horse of the year. The income brought by the original animation is far greater than that of the adaptation.
It can be said that mappa has been prosperous in recent years. Several popular original animations have made a lot of profits, and the industry has praised them well, but it seems that they have not been well known by the audience, and topics like Giant can just improve the topic for themselves. degree and popularity among the audience. In addition, mappa's production style is diverse, and he likes to try various themes. Taking over such a challenging animation as a giant is also in line with mappa's style. With mappa's current strength, he should have the confidence to be a giant.
Wit and mappa are both excellent animation companies, there is no need to chase one over the other and step on the other. The giant of wit is indeed an insurmountable mountain. At present, Mappa's performance is not bad. After all, it was taken over halfway through. The performance of the fifth episode may be somewhat unsatisfactory, but the audience's expectations at the beginning were too high, resulting in a large deviation between the final result and the expectation. Even if the wit is replaced, it may not achieve the effect expected by the audience.
The focus of mappa's work in 2020 will be on "Curse Back to War". In 2021, there will be plans for the original animation "Saga Idol is the second season of legend" and the adaptation task of "Chainsaw Man". The pressure from the other side is distracting to make a giant. I don’t understand it too much. Maybe I want to make a wave after making money in the past few years. I hope mappa can stabilize and not collapse, and I hope the audience can view mappa’s giant more objectively. Don't exaggerate and don't belittle it.
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