>>4

What has become popular exclusively on Netflix?

Even with exclusivity, it can still get exciting.

>>8

The former became a complete mess in its second season, and the latter isn’t very popular in terms of the original work, so… hmm…

We should be happier that it can be adapted into an anime even with exclusive distribution.

Well, if it’s a terrible anime adaptation, it’s okay to be angry.

It’s an anime that couldn’t have been made without exclusive distribution.

I feel like with a super popular title that everyone knows, it might be possible to lock it down exclusively…

Netflix and Disney Plus may have a monopoly in terms of domestic subscribers, but there’s no need to worry about it at all.

In Japan, you know.

I think it’s quite a failure to have adapted a highly popular original like “Shuumatsu no Walküre” into an anime exclusively for Netflix.

I think it would be better if it’s a movie.

If you suddenly start exclusive streaming of an anime that was popular in its first season from the second season, it means you can attract customers to your own site without it becoming irrelevant—how powerful is that!

Exclusive anime won’t become popular, that’s for sure.

If I make an Oriani and stream it myself, it won’t become popular.

It’s tough that there are hardly any reruns even if it’s being broadcast exclusively on the network.

If it’s a place where we can do lewd broadcasting, then the story changes.

First of all, exclusive distribution couldn’t be created without the money that comes from exclusivity, so the premise is different.

There are titles that only become a topic of conversation before their exclusive release…

Exclusive distribution is more of a measure to increase the satisfaction of existing customers.

The streaming site looked at the customer demographic data.

Since there are a lot of old men here, I feel like they want to do exclusive streaming of remakes of old works.

If you were doing it for new customers, it would be a miss.

>>34

It started to be talked about here after it was broadcasted on the air.

You can only see it here! I think that’s been the case since the days of WOWOW, so it’s just how it is.

But even with WOWOW exclusives, they would end up at rental shops after a few months… It seems like the system of having physical discs and waiting for them to come down to places like TSUTAYA was actually good, wasn’t it?

>>35

I think so more or less.

I think it’s easier to rent from TSUTAYA or somewhere instead of going through the hassle of rejoining.

Well, TSUTAYA itself is dead! Hahaha!

I wonder who Netfli’s TP Bon and Raipaku were aimed at.

I wish someone would adapt the Berserk series after Lost Children into an exclusive anime somewhere.

Even if exclusive distribution becomes popular, the amount of money coming in doesn’t change, so the more popular it gets, the more you lose.

Making something haphazardly and failing without excitement is the most economical option.

Well, to be honest, the sixth part simply loses momentum in terms of content…

The idea that being popular results in a loss is just plain foolish.

The mindset of being a cost-conscious person who feels it’s a loss if others benefit.

I learned that delivering everything all at once and having it available to watch all episodes from the start is a bad move.

If it becomes exciting, there might be a sequel as well.

The Netflix Spriggan was good.

>>47

But I guess it wasn’t popular because there wasn’t a sequel.

Please create Berserk for middle-aged men.

In that regard, I think it’s amazing that they have simultaneous distribution in various places and that ABEMA is the fastest for free.

I wonder what the actual weaknesses of Disney Plus are.

Price? Amount of content?

>>52

Outside of Disney, SW and MARVEL, National Geographic and FOX are not familiar in Japan.

>>62

Overall, it’s a high-awareness type, isn’t it…

>>53

The exclusivity of Bakemonogatari on ABEMA was just a hassle; I want to watch it on Amazon Prime.

>>59

Well, it’s free, so isn’t it fine, ABEMA?

As for a compromise, it might be exclusive broadcast and streaming on television.

Godzilla SP’s scheduling of “the fastest terrestrial broadcast on Netflix a week later” along with the theme of the work was really great.

The Gamera Rebirth exclusive to Netflix was surprisingly underwhelming.

Next time it airs on terrestrial TV, please watch it…

Amazon Prime is relatively popular because it’s cheap.

Sometimes exported to other subscription services…

If it’s an original anime exclusive, no one will say anything.

The judge was a kind of perfect animation, which is why there weren’t many points to nitpick, making it particularly quiet.

It was a miracle that the judge’s animation was so ideal.

The platform only benefits, while both the producers and the viewers hardly gain anything.

>>64

If there’s no benefit to the production side, then they probably won’t do it in the first place.

Are you an idiot?

When everyone is watching together, they often answer questions about the work in that thread, but if you miss that timing, you end up with lingering questions and sometimes stop watching halfway through.

Some movies become popular even though they can only be seen in theaters at first.

In the first place, even Shueisha, a giant in the industry, admits that their exclusive distribution of Summertime Render was a failure.

>>68

I watched it later on Amazon Prime, but it suddenly felt like a completely different work halfway through, and I’m just left confused…

In the end, if it isn’t aired on terrestrial broadcasting, the excitement will only be localized and will end there.

Why is Geass really D+…?

Sometimes there are exclusives, but basically, if it’s delayed distribution, I’ll honestly just consider it a bad anime, of course.

I found Sandland interesting, but I think it felt small and ended up being a bit underwhelming even without being a monopoly.

It’s really painful that the exclusive Netflix content has its distribution rights taken away.

Right now, it’s trending for popular IPs to distribute content across multiple platforms and make profits from merchandise.

Was it only the hype of cyberpunk?

>>78

That’s not a monopoly; it’s originally a Netflix project.

>>78

That’s only something that has a few enthusiasts.

If you’re going to do exclusive anime, it’s better to make an independently distributed anime.

It’s a country of anime.

If it truly has the strength to be a hit, it should become popular through wide distribution after the exclusive period ends, aside from the ones directly produced.

It’s fine if the wisteria is gone.

I don’t want Noitamina to go away because they are doing well…

I wish I could make more of the different Shura and produce about 10 seasons.

You need a strong title that makes people subscribe just to see it; otherwise, exclusive distribution has no meaning.

In the end, it’s just a story about how there are only beggars who won’t look unless it’s completely free.

There are plenty of works that became popular as Netflix Originals.

The Netflix drama is doing quite well, but the anime is somewhat disappointing.

>>95

Otaku are reluctant to pay for streaming anime.

If the situation is like that in the exclusive shell, then it’s probably impossible anywhere else, so it should be learned.

There might still be a chance if it’s exclusive on Amazon Prime or Netflix.

It’s already no good at the D+ stage.

Other streaming sites are out of the question.

The name “JoJo” might seem like something else at first.

If Netflix hadn’t said, “We’ll cover the costs,” would the sixth part have become an anime?

>>98

That being said, I can’t just skip this and do the seventh part…

>>116

I wonder if we can get seven sponsors and air it on terrestrial TV?

It seems like it was more Netflix that purchased JoJo Part 6 rather than JoJo approaching them.

The gap between dramas and anime is just too wide.

Anime is free on TV in Japan, while abroad it was mainly distributed illegally, so there is a tendency for exclusive paid content to be hard to become popular.

It’s better than just Netflix and Amazon Prime.

The rest is okay.

Neither Netflix nor Amazon Prime really become topics of conversation.

>>105

Saipan has become a topic of conversation, hasn’t it?

The drama also becomes a hot topic, doesn’t it?

In the end, isn’t it just that the anime itself is bad if it doesn’t become a topic of conversation?

>>112

I’ve been getting called out for a while now, but it wouldn’t be a thing if there weren’t enthusiasts for it…

If it wasn’t an exclusive, it’s questionable whether there would have been six volumes released…

Is it a story about Fengshen Yanyi not being adapted into an anime?

Considering that Code Geass was created without placing popular characters in the main roles and that there are limits to the budget from the funding sources, it can’t be helped.

The mainstay of Jump, Ao no Hako and Sakamoto, were released first on Netflix.

Netflix money didn’t benefit Sakamoto.

>>111

If it’s just ahead, it doesn’t really have much impact.

I was thinking that exclusive anime is probably all about that theater-quality kind of stuff…

>>114

Honestly, most of the works are about the same level as television or even below that.

If a work is expected to be profitable from the start, there’s no need for exclusivity.

It’s really disappointing to think that there were a lot of judges lined up in the thumbnail for a certain week if it had been broadcast biweekly.

>>117

I’m glad it was released early!

>>117

Every day, the judges line up for the thumbnail twice, right?

Honestly, I want them to make a set-top box exclusively for Netflix.

In the case of JoJo, the expression “was bought” is easier to understand.

I think it’s a monopoly that is quite different from others.

I want the 7th season to be broadcast weekly for the resurgence of Mike O as well.

The ground master became incredibly popular and trendy, but JoJo didn’t spark any discussion and failed miserably.

Why…

It’s great to have National Geographic on while eating.

May Day and so on

The more money you invest, the better animators will gather, so that’s what they would do.

Acting is on a different level.

Just because a lot of threads about the anime judge weren’t created doesn’t mean it was a complete failure; that’s too much of a forum judgment.

Even if you ask me why, it’s just that it felt like that from the original source material…

Speaking of which, I just remembered that I haven’t watched Violet Evergarden yet.

Well, at least the exclusive distribution of anime has officially been stated as a failure even by Shueisha, so there’s no benefit for anime, regardless of the dramas.

Part 7 is definitely not going to miss out overseas, especially in America, and I feel like it is the most in demand.

If you think of it as six parts for that purpose, the value of the investment is more than sufficient.

Well, if it requires money for exclusivity, I guess it can’t be helped…

Even if they say the Six Parts weren’t that popular, it’s still the Six Parts, you know!

It was written in the economic magazine that the exclusivity of Tiger & Bunny 2 has become a big deal without any competition.

>>136

Even so, the feeling that Tiger & Bunny became a complete mess in the second season and is still going on was quite strong…

>>136

That’s an expired IP, right? How many years do you think it’s been since we last did that?

>>137

I also had someone anonymous tell me about it, but I wonder if it became a topic of conversation in society.

>>153

It became a topic of discussion after the D+ drop.

When it was D+ exclusive, it was really a state known only to those in the know.

>>153

I saw the theme illustrations several times when they were broadcast at the same time as the BS distribution.

If we’re going to stream all episodes at once, do we need to insert an opening, ending, and next episode preview every 30 minutes (22 minutes) between Part A and Part B?

Sometimes the tempo gets messed up because we have to fit within that framework to some extent.

The exclusivity of the drama is even more tragic.

>>140

Rather, the drama is normally achieving results exclusively.

>>144

Just because some people are getting results doesn’t mean the hit rate is significantly different.

>>163

Isn’t that part more than the anime?

It’s about monopoly that I’m talking about now.

>>169

Do you know how many dramas are being made exclusively?

It’s not comparable to the anime that is made exclusively.

There are many people who binge-watch on Netflix, right?

>>141

So the drama is going well.

However, like Black Sun, it can also be consumed in an instant.

>>164

I think if I hadn’t watched that all at once, I would have dropped it immediately.

>>170

The Amazons had a long period of excitement, but Black Sun was over in an instant.

>>174

I can’t keep talking about that kind of content for long! It’s crazy!

Volume 6 is boring.

There are things that can become globally popular like Baki.

I feel that there are many people in the anime community who focus on real-time excitement.

There are quite a few people who binge-watch dramas.

>>147

I think the former is just a remnant of the influence that anime fans had.

I’m getting closer and closer to the latter.

Rather, what is Baki, which is super boring and exclusively on Netflix, that became popular?

>>148

Did it become popular…?

>>151

Even though things like “tsuki tsuki tsuki ♥” and flash animations were incredibly popular here, they’ve been completely forgotten.

Singularity’s

A terrestrial wave and D+ exclusive!

→I’ll show you just one episode on YouTube!

→I will show up to episode 3 on YouTube!

→You can watch up to episode 8 on YouTube!

Their desperation was amazing, wasn’t it?

Baki is boring just because the sixth part became popular.

>>154

?

Tybani has expired, or rather, it clearly died once before…

It’s something you usually get to see for free anyway.

Anime and dramas.

If you say to do a piece of original art for 30,000 yen, people will come rushing in, right?

Still, it’s cheaper than using famous actors.

Kira’s colleague became a topic of conversation in society, but the judge did not.

>>161

But my colleague’s drawing is a bit off…

It seems that the financial power of a monopoly is indeed more fortunate in that regard.

>>161

There’s no way that content mocking the judiciary and disabled individuals would become popular in society.

There are many dramas being revived under the monopoly of the old.

It’s not much of a topic.

There aren’t any works that completely replace it, but…

There are other things to see, and when it comes to places I don’t usually use, I tend to think it’s already good enough…

“Summer Time Rendering was also aired on TV, and the commentary here was fairly lively.”

>>172

That’s after the D+ exclusive is over.

When it was D+ exclusive, its recognition was really low.

>>177

I think it became a topic of conversation after it started being seen in various places.

>>172

Even though it was exciting, there were quite a few people who harshly denied it or started saying things that weren’t even discussed on TV after it was released on Amazon Prime.

I think “Z Ground Master” was quite popular on Netflix.

>>173

Extreme evil is one thing, but anime and drama are different.

>>178

Because dramas have a wider audience than anime.

I think the only good thing about the simultaneous release was that it felt like a hit-and-run, like with Black Sun.

Right now, live-action works are a narrower niche of otaku content.

>>180

Do you think that when you see a ground master?

I feel that Netflix dramas tend to hit more often than miss.

Just thinking of it, I can come up with things like Naked Director, Ground Master, and Wicked Alice.

Netflix is grateful for having almost complete subtitles for anime.

I won’t forgive the live-action version of Bebop…

In the first place, whether it became a topic of conversation or something exciting doesn’t really matter to the viewers; they will only watch if there’s a work they want to see, even if they have to pay for it, right?

Personally, I don’t care whether or not a lot of threads about the anime version of Part 6 are created on the forum…

I can understand if the production side is concerned.

Maybe the only person who knows about successful exclusive dramas is the con artist.

>>188

Alice in Borderland and the Evil Queen are both achieving results, aren’t they?

The works that become topics of discussion here are notable for their timing of free release.

Increasing the sample size is the most important.

Even the live-action adaptation of Yu Yu Hakusho has been quite a hit, and Netflix dramas generally have a fairly high success rate.

>>195

Anime Spriggan Season 2, come quickly!

>>195

If it hit as a live-action, it would have hit even more as an anime…

>>200

No…

Since the audience is limited, even if it gets somewhat exciting, it only concludes that it would have been more exciting if it weren’t exclusive.

Well, if it wasn’t exclusive, there’s a possibility it wouldn’t have been made in the first place, so this is just an opinion from the viewer’s side.

The fact that my colleague is popular has been happening since before the anime adaptation.

Golden Kamuy is on WOWOW, but there were live commentary threads, so I guess people who really like popular shows will pay to watch them even if they’re exclusive.

I think Netflix also put money into the SPY×FAMILY movie.

That way of doing things.