into the industry with the goal of internationalizing the genre with talent from across the globe.
On the other hand, of course, competitive licensing fees help support anime creators and fund new projects. “If the only buyer of anime works is the Sony Group, it may not be possible to sell the works at a high price,” says Sudo. “It is desirable for animation studios to have buyer competition. By selling the work at a high price, you can continue to maintain the studio.” Overseas markets made up almost half the anime market in 2019, according to the Association of Japanese Animators.
Netflix, now a big competitor to FuniRoll, takes a less traditional approach. It often circumvents the production committee system, downloading money into particular studios’ or producers’ budgets to make a Netflix-specific anime—and a lot of the time, those anime are more heavily computer-animated or even somewhat Westernized. Unfettered from the production committee, some of these Netflix originals feel less like anime and more like anime-inspired cartoons.
I would say death, but anime has been dead since 2010.
Hi, I am a structural engineer from Iran who have many ideas. I have summarized some of my ideas on my page. I want to work with companies and investors. Do you want to cooperate?