One of the big new series picked up by Netflix recently was LeSean Thomas’ Cannon Busters. While I reviewed the pilot a while back, I thought it worth talking with the man behind this new series and how the Netflix deal came about.
If you read my review of the Cannon Busters pilot, you would have realized that I am a big advocate for the cross-cultural aspect when it comes to anime production.
Cannon Busters is also one of 12 new anime funded by Netflix, as the company is making a large push into the medium with new and original content.
While it is important to realize that this is not a new thing in anime, what made that Cannon Busters pilot so special was how unfettered it was in terms of this kind of creative collaboration.
However, before I get to all that. I wanted to know more about LeSean’s background and his interest in anime as a medium, not to mention how he got into working in animation in the first place.
“I started off aspiring to be a comic book illustrator. As a kid growing up in the Bronx, NYC, I’d always drawn my own comic book ideas in Elementary School. My elders were supportive of anything that kept me out of trouble and didn’t mind me disappearing into my own world with art. Having friends in school that would also participate in drawing activities with me helped create a safe space for me to indulge in it further as I grew up. Well into my late teens, my dream was to eventually become the next comic book star like Jim Lee, or Joe Madureira, but that didn't exactly work out. My passion in illustration led me to be hired as a designer in children’s accessories design for a few years, then becoming a character designer and layout artist on web cartoon projects in the late 90s, to creating and directing my own short web-series project, to then eventually working in TV animation production (MTV Commercials, Disney’s Lizzie McGuire Show) at the turn of the century. After 911, I had a brief, 3-year stint in independent comic books as a sequential artist before eventually jumping back into TV animation production full-time with The Boondocks animated series. The rest was history.
“In terms of my first exposure to anime, I would have to say Robotech. So Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber Mospeada. At the time, of course, I didn’t realize it was “anime” as the Western, marketing descriptor labeled it, it was just a cartoon to me that came on very early in the mornings before school around 6am. I’d wake up super early just to catch this show when I could. I knew right away this show, its look, style and the shows I’d later encounter like it were different from what I’d grown accustomed to with broadcast networks at the time. These weren’t your typical Merry Melodies or Looney Tunes productions. Characters in these shows were written in ways that showcased incredible depth; they would face intense, narrative stakes, they cried, suffered existential crises, they even died. I was fascinated and absolutely addicted. I also think my aspirations to be a comic book illustrator as a kid piqued my interest in watching more of these Japanese animated shows because they displayed a level of draftsmanship, environmental design techniques and cinematic film composition qualities absent in Looney Tunes/Hanna Barbera shows, yet mirrored the approach comics illustration styles which appealed to me.
“As the late 80s went on, I became aware of spaces in downtown China Town that would sell VHS copies of a myriad of series, subtitled and all: Bubble Gum Crisis, Bio Booster Armor Guyver, City Hunter, Crying Freeman, Iczer 1 and 2, Akira, Yu Yu Hakusho, Bakuen Campus Guardress, Bastard!!, Record of Lodoss War, Baoh…I completely lost interest in what American Broadcast Networks were pumping out and indulging in this secret world I felt, at the time, was just between me and a select few who were aware of it. These shows totally helped change my idea of world building along with the idea of action shows starring complex, female leads: something absent in most U.S. animated TV shows of the time, even more so today.
“When it comes to my favorite anime, that’s a tough one, because there are so many shows that shaped my imagination and design sense every 5 years in the last 2 and half decades. It’s not fair to say just one. But that said, I'm going to have to go with Shinichiro Watanabe’s Cowboy Bebop. Simply because it’s one of the only animated TV shows out of Japan that gave me an example of how a series and project can be enthralling, stylish, entertaining, just all around cool and no matter what culture you’re from, you’d love it. From the classic soundtrack to the imaginative worlds and characters, to the visual craft and filmmaking, I’d consider Cowboy Bebop a global, gateway anime for anyone who’s not familiar with the medium. If a casual viewer asked me “I don’t know much about anime, what would you suggest I watch to get started?” I’d start them off with Bebop. It’s one of the greatest animated TV series of all time. I’d argue one of the greatest TV series of all time. It’s a timeless show, in my opinion.”
When it comes to LeSean’s directorial influences, his choice is also interesting and noteworthy considering the anime in question.
“Shinichiro Watanabe, as the man hasn’t made a bad show yet. From Cowboy Bebop, Cowboy Bebop: The Movie, to Samurai Champloo, Kids On The Slope, The Animatrix shorts, Terror in Resonance and Space Dandy. Watanabe seems like an unorthodox director even by the Japanese TV animation industry’s standards. What I admire most about Watanabe is his ability to get so many strong, individual talents and personalities, young and old, the best of the best together to do something special. Space Dandy is my favorite animated TV series in the last 3 years, and when you look at the show production, it’s literally a 26-episode anthology. No episode is the same tonally and visually. They each have a different director and different character designer. This is translated as well in the show’s music production. It’s amazing to me how it was all executed. I’ve always dreamed of having an anthology project in that way. It would be insanely expensive but I’d imagine it’d be an artistic joy ride. Watanabe is my directorial spirit animal ha, ha. So much of what makes Cannon Busters fun and free-flowing to me is paying homage to Watanabe’s works. If you look close enough you can see the nods, except it’s for a new generation of teens who weren’t born or were too young to appreciate his work when they aired at the time.”
Making Cannon Busters And Children Of Ether
With Cannon Busters going into production for a full series and another show called Children of Ether on the way, I wanted to know how these series had come about.
“Cannon Busters initially started as a comic book project shortly before my time on season one of The Boondocks animated series on Adult Swim. Two issues were made, and shortly after issue one was released to solid reviews and sold out, The Boondocks premiered. Little did I know, that this TV show was a meteor when it landed, consuming all of my time, pulling me away from any idea of drawing a monthly book. I actually believed I could do both. I eventually decided to cease production on it as a monthly, to focus on The Boondocks as I had two jobs on that show (Supervising Character Designer and Co-Director) and trying to find hours to draw it with any relative quality burned me out. The intention was to work on it at my pace as a graphic novel. 7 years later, my credentials, reputation and experience as a TV animation production artist eclipsed my tenure as a comic book illustrator. The goal was to always make it an animated project or a JRPG-inspired game so when the opportunity came for me to use my new found resources to produce and direct an animated short for it while living in Korea, I did, having spent my own money to finance a showpiece. Crowdfunding became a thing around that time and when I had wrapped up my duties as Creative Producer/ Supervising Director on Black Dynamite animated series for Adult Swim in 2014, I used the trailer I made in Korea to create a Kickstarter video. Three years and a finished pilot later, here we are.
“Children of Ether came along because of Cannon Busters’ crowdfunding success and buzz. Crunchyroll approached me expressing interest in me basically duplicating what I’d done with Cannon Busters, production-wise, inquiring about show ideas. It seemed they had no studios at their disposal they could commission, so they inquired if I knew any. Since I had a wealth of relationships and experience under my belt, I introduced them to a small, boutique studio I befriended during my time living in Japan for a month in 2015 directing Cannon Busters. It was Yapiko Animation, which wasFrench/Japanese Sub-contracting hub for the larger studios operating in both Japan and France, whom I felt would be a good fit for short projects such as this one. The timing was perfect as Yapiko was looking for another project with Global appeal with a big company like Crunchyroll to jump on after producing another global, animated Kickstarter project, Urbance. I hand-picked the team with Yapiko, on the development front I picked out the crew, the music talent, voice talent, casting, post-production house. It was literally just up to Crunchyroll to tell me if they could afford it or not. To their credit, they were very hands-off, which is part of why I enjoy working with them: creative freedom.
“Both Cannon Busters and Children of Ether were in production at the same time, overlapping each other. It wasn’t easy, but we got it done. Everyone seems pleased, so mission accomplished.”
One of the biggest changes over the past few years when it comes to anime is how it has aggressively embraced online streaming services. This bypasses the traditional TV networks and even Hollywood. However, the really interesting thing here is how companies like Netflix are funding anime in Japan directly. As for why LeSean is choosing to go down this route, he was more than happy to explain.
“Well, there are two major reasons for doing it this way. One is the relationship: A large part of it was because Satelight was the studio I wanted to produce it with. They were the studio who supported the project via Kickstarter by allowing their staffer, Thomas Romain to participate in the project. They agreed to produce it once we acquired the financing. They were supportive and enthusiastic from Day 1. They also create Macross shows. Studio president Sato-san saw value in this project and in me. His vision for international collaboration is so open-minded and forward thinking. He houses so many European talents at Satelight. The nature of American shows like Cannon Busters is tailor-made for Satelight, thanks to Mr. Sato. It’s surprisingly a gesture I couldn’t get from any of the networks here in the states project-wise.
“The other big reason is readily available talent: the style and approach I intended for this series were that of the Japanese animated show quality, skill and expertise from the 90s; The Golden era of anime for me. Something Satelight displayed while working with me on the pilot. Aside from small clusters of able talent in South Korea, who receive a lot of subcontract work from Japanese animated studios for their shows and small groups in France, whose animation system also collaborates with the main production with South Korea, there’s really no other space geographically that houses large amounts of options regarding studios with enough talent I could approach who could take on a series of this caliber.
“The reason I believe this is because I feel The U.S. has all but given up on anime as far as TV animated broadcast network production goes. Furthermore, it appears that the U.S. animation school curriculum/system book ends that fact with a seemingly mass, the ethnocentric angle on Japanese animated or illustration styles (manga), largely discouraging kids from being influenced by such aesthetics…aesthetics that avoid Eurocentric art history expression. From my years of speaking at schools and engaging with countless kids reaching out to me for info and advice, their experience with animation school suggests its teachers are loosely made up of older generation talents who seem disconnected with the ever-changing market and graduates who couldn't find work so they teach, creating an insular dynamic of misinformation to misinformed kids being pushed into the workforce with degrees and loan debt nipping at their heels. It’s maddening. It’s an unspoken discussion that limits a fair and nurturing space for creative growth at the academic level. If you’re not creating an approach that supports the Pixar, Disney, CalArts, Art Center machine, you’re in trouble…because we don’t make shows domestically that look like Macross Delta, or Cannon Busters. So kids graduating CalArts for example, aren’t set-up with those skillsets and approaches for TV. Networks here don’t produce that content and kids in school are discouraged from it. I feel it’s part of why we hire Korean animation studios to animate shows like Avatar: The Last Airbender, or The Legend of Korra, or Black Dynamite. The talent there routinely works on Japanese animated show productions so the styles are encouraged. Now, of course, there are exceptions. There’s a possibility that a handful of available talents domestically can work on a couple scenes on a show like Space Dandy, or My Hero Academia, but not a workforce that can pump out 26 half-hour TV episodes. We don’t collectively possess that level of TV animation talent and skill in the states. And if we do, they are most likely in game development, or feature film development usually.
“It all boils down to one question: How can U.S talent graduating animation school compete with a Japanese TV anime industry which talent pool produces 30-40 shows a season while pumping out over 70 shows a year? Our schools are designed to pump out employees, not auteurs, and the mainstream looks of our kid shows and animated feature films speak to that. This is not a criticism on domestic talent, just facts. Outside of my relationship with the studios abroad, logistically it makes more sense to produce it in Japan for what I’m looking for, especially for this show.”
As I explained already, cross-cultural collaboration is not a new phenomenon when it comes to anime production and LeSean is definitely supportive of this kind of approach for the shows he is making.
“Anime productions with cross-cultural workforces have been a thing for over 35 years. This isn’t a new phenomenon to me. The U.S. Japan, France, China, India, Canada have been collaborating for decades. This is just becoming relatively common knowledge because of the advent of growing interest for the marketplace to expand business in a ubiquitous space like the web. The information about studios, directors, talent, etc is all more and more known because the information is there to share online now. But I’m used to it and encourage it. It’s vital for the medium to grow. It’s not about replacing the current model, it’s about expanding on it. More people get to partake in the process as inflation continues and more common knowledge and interest in contributing to the medium grows. I’ve been talking international collaboration for the longest until I decided to just move abroad. Now, me going to Korea isn’t a big deal anymore, neither is working Japan.
“As for the future of this kind of cross-cultural approach, nobody knows. I will say that I believe that the more positive, financial results that come from such experiments, the more other companies will follow suit and take risks. You’re already starting to see it with Sony’s acquisition of Funimation, Crunchyroll merging with NBCUniversal. Lastly, you have Netflix doubling down on anime co-productions to attract audiences that may be casual anime viewers who want variety with their content provider, but may be on the fence investing in an anime-only SVOD platform like Crunchyroll, a leader in anime-only streaming. There’s potential to have a little for everyone and eventually it’s just going to come down to a good product, not who’s “working with Japan.”
“For the independent creative, it’s awesome. I think it’s great for business also as it only means more potential for eyes on what we do, and more revenue streams like China investing in financing cross-cultural projects.”
The Production Process Behind Modern Anime Series
To get a better idea of how modern anime production works, I asked LeSean to help break the process down, so as to make it more accessible.
“TV animation production structure in Japan for a series is not unlike any other process in other countries. It’s comprised of three, main stages: Preproduction, Main Production (or simply Production) and Post Production.
- PREPRODUCTION: “Planning - After the staff is assembled, meetings take place to plan out the show, story structure and things like series composition. Essentially getting everyone on the same page as to how the story will play out per episode throughout the season. The series director is key to this process. Their involvement at the early stage is to ensure budget, and overall quality of the series (Visuals, audio, length, etc) is maintained. Scripts – Since Cannon Busters, in particular, was written as a series before actual production began, we had the leg-up of jumping right into production once we were greenlighted to go. I write the premises of each episode, explaining in a couple paragraphs what happens to map out the season. I then bring in my Story Editor and writers on board and we pow-wow for hours on specifics, character and world rules, as well as personalities. I give the writers room to extrapolate on the premises so long as Point A to Point B is established, story-wise. Then each writer more or less gets to choose which episode premise they feel closest to, they are off to write outlines. Outlines are handed in and edited by myself with the story editor, then approved to go into the first draft. This editing process is repeated until the second draft, with final notes by myself and the story editors. This is done for 12 episodes. We had 9 writers (myself included). Once the scripts were done and translated in Japanese, we then sit with the Japanese staff and script-edit the scripts once more for technical/production efficiency (We have to make sure we can afford to produce each episode since writers were given leeway creatively). This happens at the storyboard stage.Design- Character designs, backgrounds and mecha are designed while storyboards and script editing is happening, which is done by talent who supervise each position. Once story and design are in the clear and approved, production on the episodes start.
- PRODUCTION: “Storyboarding – Once approved by the series director, the episode director engages in the task of creating the visual script (Storyboard) of what the episode will look like on screen. Although the series director has the final say, the episode director is most heavily involved in the episode production. Like the U.S. several storyboard artists may be required to handle the work of any given episode to save time. The direction of the storyboard is usually agreed upon in production meetings with the series director, episode director and other staff members. In the U.S. the length of time to deliver one act of a storyboard or half an act of a storyboard (anywhere between 7-12pages of the script) is 4 weeks (Two weeks for rough boards, then two weeks for clean-up with the episode directors notes included). But in Japan, its standard for it to be just 3 weeks, which explains why many boards are so loose (Layout plays a key role in this). Animation – Following the approved boards, animators start layout and key animation. Dozens of animators can be working on any one episode at any given time (broken up into several cuts of animation). Depending on the strength and talent and voice of the animator (If strong), they can create something special that isn’t particularly following the storyboard, yet add an overall unique flavor to the episode. The animation director’s job is to keep the characters looking consistent as best as possible from cut-to-cut since each animator draws (and animates) differently. The animation director is also the series character designer in many cases.“In-between animation, normally a temporary position in the animation industry (its how to groom new key animators), is vital to maintaining the fluidity of the overall movement of frames. Essentially, they are tasked to fill in the gaps of the animated frame movement. It's tough work, depending on the project, but an In-betweener’s job is to follow the instructions established by the key animator. One can consider it grunt work. Nowadays, the in-between animation is done at studios outside of Japan. Some Key animators (Like when working with Mitsuo Iso) provide their own in-betweens themselves. But that’s only if they are really strong animators usually. Clean-up helps make the work more streamlined in quality for color work. Ink and Paint (Compositing) – Nowadays, hand-drawn animated frames are scanned into the computer for digitization, for polish. This allows for post-touches after clean-up is done at the animation stage, as well as applying color to each drawing. Background art is also applied at this stage to match characters. Digital effects are also factored in here. Sometimes visual effects are done at the post-production stage too.
- POST-PRODUCTION: “Editing – getting the runtime and final cutting length is vital. Advertising space requirements, credit placement and so on are necessary. Voice recording- Adding the voice talent after the animation is completed is standard. American shows tend to record first, before storyboards. In this instance we record voices after the animation is completed (sometimes before final ink and paint is done). So essentially one could say it’s a Dubbing/ADR session (Automated Dialog Replacement). Sound effects – Can be done as early as the first assembly of the episode. Usually done at specific sound studios that are commissioned for the series. But usually before music. Music – Music is, of course, added after voice records are done, however, they music scripts (cues for each episode) are established as early as storyboards. In fact, the opening and ending credits music is completed before the storyboard since we have to create an original visual sequence for each part, done by either the episode director or a director/animator who specializes in openings/ending sequences. Mixing – putting it all (music, sfx, voices) together.”
To help explain the role of a director further, LeSean went into more detail as to what he does on a day-to-day basis.
“Animation directors have a fairly stressful job, but also a very important one. They are essentially “quality control lieutenants” they are there to direct the animation: check keyframes, model checking (So that they are close to the original character designers), adjust timing and movement, etc.
“Not all animation directors are created equal though, as the role can vary slightly depending on the schedule and studio culture. Sometimes, keyframes are checked by the episode director too.”
The Perception And Terminology Of Anime
The interesting thing with all this is the while LeSean’s work at bringing various studios and top-level Japanese creators together with Western talent is lauded here in Japan, the reaction elsewhere has been mixed. So I wanted to know why he thought this was the case.
“My thoughts on this aren’t popular, but I think such mixed opinions in the West comes from a vocal minority of 3 groups: those who applaud this notion of co-production which creates an opportunity for more original ideas, away from the stuff they’re tired of seeing. Those who want to “protect” their fandom, to keep it the same, inside a box that is sacred to them alongside those few who share an affinity for it (even at the expense of it dying a slow, uncreative, insular death as a result) and those who are casuals who don’t care, they’re just curious and will enjoy what’s put in front of them regardless of how it’s made or put together so long as it's entertaining. I empathize with all 3 groups: as a fan, as a creative and as a consumer. It makes sense. It’s just not realistic based on how it’s all set up fiscally. However, you’re going to encounter such conundrums in any creative medium that thrives on commerce to sustain it. We experienced the same problem with Hip Hop music: The notion of “real” Hip Hop for the tried and true fans from the Golden Era generation (1985-1995 in my opinion) who believe the medium should be about one way and one way only. The mixed reaction to it going mainstream for a time was rampant. There were those who wanted to expand the medium and the companies who financed these projects to stay afloat and new listeners who just want to experience whatever’s good to them. For example, Hip Hop music’s notion and role of the Emcee (the cadence, delivery, persona and characteristics - voice change delivery of poems, hand gestures and even fashion) originated from Uptown street gang culture in NYC. So if a kid born and raised in Tokyo aspires to become an Emcee and is traditionally mimicking that persona in his/her music, it’s now not Hip Hop anymore because they weren’t born and raised in the projects or from a crew in the South Bronx? Does Spaghetti stop being Italian or not real spaghetti cause the Chinese chef making it wasn't born and raised in Italy?
“To quote an anime producer I know working in Japan would say: “Anime is Anime.
“These arbitrary mutually agreed upon rules we create for ourselves to protect our identities, our heroic image of ourselves, which I believe is what this is really about, are attached to these creative bodies of work encourage this defensive behavior. Depending on whom you talk to, “Anime” means one thing or another. "アニメ" is just a Japanese short word for “アニメーション” (animation) It doesn’t stop being a Japanese word because a handful of passionate, keyboard gatekeepers refuse to acknowledge the Japanese language due to years of exposure to westernized descriptors from early journalists and licensors marketing something exotic by “Othering” the actual word. That doesn’t make them wrong either. It’s the gatekeeping that’s problematic. As a creative actively contributing to the medium with original ideas, working alongside some of Japan’s elite in TV animation past and present, we don’t have such silly discussions. We just want to try to make cool stuff together. So long as it’s entertaining and the creators behind it get to express themselves, let the consumers and marketing outlets wax-poetic about where it all sits categorically.
“Spaghetti is spaghetti. You can no doubt still get authentic spaghetti from Italian chefs if you go to Italy or have access to them domestically, but that doesn’t omit others being exposed to it who enjoy making their own versions of it knowing the recipe and incorporating the right ingredients. Nothing is being replaced, merely expanded upon. It doesn’t stop being well-made spaghetti in Italy because a Chinese chef in San Francisco decides to put his/her recipe on their restaurant’s menu. The sky isn’t falling, anime is still anime. There’s something for everyone, something for the world to enjoy. Why not?”
This kind of othering and gatekeeping only seems to foster widely held misconceptions about anime, so again I wanted to know what LeSean thought of all that.
“I don’t know. I don’t have much engagement with the part of the fanbase that isn’t actively trying to contribute to part of anime production. My knowledge of the fanbase interests is mostly informed by my interaction with aspiring TV production directors, designers, animators, etc. Many of them are curious about the process, but most of them are just curious about whether to move abroad to learn or get experience or how they will make a living in a style that’s looked down upon and not encouraged domestically.
“To be fair, there’s still a substantial amount of western talent currently working who have never participated in anything beyond storyboard animatics in Toon Boom or Harmony because of Korean studio collaborators who handle much of the actual layout, key animation, in-betweens, clean up, ink and paint, etc. The whole production process is still considered obscure for anything that resembles shape language involving realistic anatomy in motion, folds, environmental design techniques, skills associated largely with the mainstream styles of animated tv shows produced in Japan. There is information online of course, but a lot of it is still trial by error.
“I relocated to Korea to get a stronger idea of the main production process for these styles of shows. That was an extreme approach and although I wouldn’t encourage anyone to do what I did, I wouldn’t be doing what I’m doing now if not for that approach so I have no regrets. There’s more than one way to gain knowledge. I only hope more information is shared on these types of shows so the next generation who want to indulge in those types of shows get access to such information. Of course, Japanese animated TV shows aren’t the only types of shows being made, nor should they be, but if that look is what you’re going for, it’s important to try and get the info that's readily available where you can.
“From a media perception standpoint, having the first, independent, American-created, written, produced, directed TV anime project by a creator/director on Netflix muddies the waters for gatekeepers further I’d imagine. Add that I’m an African American, also a first for Netflix anime originals, and the lead protagonist stars a female of color in a fantasy genre animated series takes it a step further. It’s an unavoidable discussion that will either spark controversy or open a door for people to quietly follow my lead, kicking open the door I’m potentially creating if this is a success. I'm here for all of it. I think it’s fun to bring something new to the fold and I’m most excited about the young girls who will enjoy this show when it hits their screens.”
What The Future Of Anime May Hold...
Despite the huge global success of anime, especially in recent years, I wanted to know what challenges are still facing the industry as a whole.
“That’s a topic that deserves its own article. There’re countless sources, opinions and information out there that speaks to this topic so I won’t pretend I am some source that can be used based on good authority.
“Earlier, I spoke to the positives of what a production juggernaut like Japan’s anime market (40 shows season/70 films a year) is and why the U.S. can’t keep up with that output as we are currently structured now. As awesome as that appears to be on the surface, the con of all that, from my personal experience, is the issue of the over-saturation of product in the anime market and it is struggling to cope with the growing lack of talent to sustain the increasing demand and volume of work coming out of Japan’s TV animation industry.
“In many parts, tough working conditions and little pay for many new animators, usually starting as in-betweeners, entering the aggressive business is becoming a norm at the many small studios, thus seeing graduating students who try their hand at animation end up quitting due to low wages and long hours. And if they aren’t quitting, they’re bypassing animation altogether, turning their eye more and more to the gaming industry and feature film development. As a result, there are no new legends being cultivated to carry the torch. So there’s a shortage of consistent voices entering the industry, ultimately affecting long-term quality.
“Not to mention the merchandising value for anime in many places are lacking. The cost of DVD/Blu-ray releases has also increased where only hardcore otaku will purchase it. It’s slowly losing its hold as the primary platform to absorb this content and with piracy platforms on the rise and production committees still keeping business models as usual, it could be pointing towards implosion. I think there’s a tipping point that may occur where the international contribution from talent to financing is inevitable if this market is to sustain itself.”
The whole streaming angle with anime seems to be emancipating Japanese studios in a way that hasn’t happened before, at least not outside of Japan. However, I was curious as to how LeSean thought this new frontier in anime is developing.
“That’s hard to say. As we’re still in the throes of a “Wild West” of content acquisition thanks to the advent of the SVOD platform. Companies who are able to seem to be throwing things at the walls to see what sticks, while conservative companies who still rely on TV Advertising as their primary revenue stream subscribe to a wait-and-see stance.
“I do think casual subscribers who may not want to pay for anime-only SVOD platforms and still have access to show variety benefit most with what Netflix has to offer. If these shows are successful, anything’s possible. Also, consider projects like Children of Ether, Shelter on Crunchyroll, Toonami, IGPX is at it again with FLCL 2 and 3, and I think it’s only a matter of time before Amazon (Anime Strike) jumps into the original programming fray of Anime. Who knows?
“I don’t believe being an American creator/producer/director working with Japanese talent on original IPs like I currently am will be a novel thing 10 years from now if it’s all successful. I believe it will ultimately come down to which platform has the entertaining shows. In the end, I believe it's the consumer who wins.”
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