![]() It was a uniquely exciting action show that had a lot of heart. Love it or hate it, Soul Eater was a very well-produced show by a studio that was arguably at its peak around that time. ![]() But how does this pertain to Soul Eater, just one series from the late 2000s from a studio that continues to produce high-quality TV anime?īecause attempting to do what Soul Eater did in 2008 today would be increasingly difficult by the industry standards. None of this is new to those who have followed the medium for a prolonged period of time, which isn't to say that it is any less valid a concern worth raising a stink about. The results were many of the same things echoed in video essays and blog posts within fandoms about the issues: overwork, underpay, and the money going to production committees.īen Dooley and Hikari Hida of the New York Times described these committees as "ad hoc coalitions of toy manufacturers, comic book publishers, and other companies that are created to finance each project." Ultimately, while these committees have enjoyed the profits from the medium's international boom, the same can't be said for the ones responsible for the art itself. In 2021, in the midst of the pandemic's effects on demand for animation, the New York Times attacked this very notion in a piece discussing the conditions of working in animation in Japan. The revenue, on the whole, has increased, but the animators aren't sharing in that growth that has spread internationally. And this was just in 2018, before the pandemic when demand for streaming entertainment skyrocketed, and the international market for anime began to demand even more of the industry.Īnime as an industry has only grown larger and larger, but those changes aren't always reflected in every aspect of the production process, and not positively either. This is a trend in looking at industry numbers: a deceptively optimistic increase in revenue, yet equally abundant costs amassed for the staff involved. "Teikoku Databank attributed the increased total revenues to major production companies securing an appropriate amount of production and continuing to improve the production volume, despite a shortage of human resources and high outsourcing costs in the industry as a whole." This is all in spite of the fact that as of 2018, anime companies were consecutively reaching record heights in revenue every year. Even the percentage of increase in revenue among other studios was dropped from previous years. In 2018, the Teikoku Databank reported that 30% of studios within the industry were at a loss financially. While the changes reflected within the media have been good and bad, the industry trends within studios have become increasingly worrisome. It is simply a fact that every few years, the topical and popular anime change, along with the dominant styles and techniques being employed. The anime industry is nothing like it was a decade ago, and this is not a condemnation nor an appraisal. RELATED: Soul Eater: Every Main Character's Age, Height, And Birthday Seeing Red The reasons are more numerous than that, certainly, but it's led to demand for a remake that - in all honesty - probably couldn't be made. Namely, how the themes of teamwork felt abandoned in place of a conclusion that favored only a few characters rather than the team the series had been about. The divergence from the source material at the ending of its anime adaptation was criticized for numerous reasons. It followed a group of "Weapon Meisters" and their sentient weapons as they attend an academy to learn to become grim reapers to hunt monsters. Like Brotherhood, Soul Eater was a production by Studio Bones, and it was overseen by director Takuya Igarashi of Ouran High School Host Club and Bungo Stray Dogs fame. One such request was a remake of 2008's Soul Eater, a show that was received well, especially in the west on Cartoon Network, but that was criticized for its ending, which diverged from the manga. When Fullmetal Alchemist Brotherhood was released to huge critical acclaim, audiences everywhere saw the potential in remaking anime adaptations that suffered from similar issues as the original FMA.
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