Geekery: Netflix is Adding a Ton of of New Anime

Netflix has been pouring money into original programming – including 12 new anime series.

This is not a Netflix original, but it is making its western debut on the service. This is the first animated Godzilla movie from Japan…

The story is set 20,000 years after Godzilla and the Kaiju drove humanity to the stars. A band of the survivor’s descendants gather together to reclaim their home world from the powerful Kaiju when the planet they’re on becomes uninhabitable. There’s a weird time warp in humanity’s timeline that has given Godzilla the edge in the battle. This promises to not be the typical Godzilla flick.

This adaptation of Go Nagai’s manga Devilman focuses on Akira Fudo’s early days as the Devilman…

Lauded as an “eternal masterpiece” that could never be completely recreated in moving images, the entirety of Devilman will finally be portrayed in Devilman Crybaby. The director is Masaaki Yuasa, the world-renowned creator known for his work on many high-quality titles such as “Ping Pong the Animation” and “Mind Game.” The series will also feature a screenplay by Ichiro Okouchi and music by Kensuke Ushio. A team of Japan’s top creators gathers to take on the anime adaptation of a legendary manga.

Based on the light novel by Yuuichirou Higashide…

Fourteen Heroic Spirits gather for an apocryphal Holy Grail War. In a city called Fuyuki, seven magi and their Heroic Spirits once clashed in a Holy Grail War. But amid the chaos of the Second World War, a magus made off with the Grail. Decades later, the Yggdmillennia clan holds the Grail high and secedes from the Mage’s Association, declaring their independence. Angered by the move, the Association sends assassins after them, only to have them wiped out by a Yggdmillennia Servant. The choice is made to fight Servants with Servants, and the Holy Grail War system is expanded to two factions of seven Servants each. A Holy Grail War of unprecedented scale — a Great Holy Grail War — begins in Trifas, Romania.

From Studio Bones (My Hero Academia) and Kazuya Murata (Fullmetal Alchemist: The Sacred Star of Milos)…

In Japan in the year 2035, an accident known as the “Burst” occurs during a research project, spawning an out-of-control artificial life form called “Matter” that has spread throughout the Kurobe Gorge. The research city that was once hailed as the hope for humanity is cordoned off by the government. Two years later, 15-year-old Aiko Tachibana, who lost her family in the Burst, learns something unbelievable from Yuya Kanzaki, a new student at her school. A secret is hidden within her body, and the answer to the puzzle lies at the “Primary Point” that was the center of the Burst. When boy meets girl with the fate of humanity in their hands, what new truth will come to light?

Also on the list:

 

Which series are you looking forward to most?

  • I’m really disliking the whole war for licenses going on right now. Amazon’s Anime Strike is obviously the worst offender, but Netflix is pretty damn terrible too with its refusal to add new episodes as the series airs in Japan. It really isn’t fun having to wait 3-6 months for a series to be available officially, legally, just because of that policy. Just for the record, these series will only be airing on a weekly basis in Japan, via Netflix Japan, whereas the international crowd has to be patient.

    Nevermind the audacity Netflix has in rewriting series and retitling them. “Smile Precure” became “Glitter Force”, ffs, and this is the xth title in a franchise that’s been around even in English since the early 2000s.

    At least with Crunchyroll you have everything available as
    it airs, for less than Netflix costs, and access to the entire library
    (though regional licensing issues apply here and there, when a local publisher wants to do Blurays).

    That being said, I’m glad the new Devilman series is finally happening after many delays that made me doubt it would ever appear at all. Fate/Apocrypha is good but could’ve been better directed so far. Godzilla has too much CG stuff going on from what I’ve seen, so I’m lukewarm on that.

    • I think Netflix’s approach will bite them eventually, because the buzz on these shows will have largely dissipated by the time they are made available. Amazon is the one that worries me. The cost of Prime is fair, but the extra for Anime Strike seems unnecessary and annoying. That being said, being able to download episodes to my Kindle and watching them online comes close to making it worth the cost. Sony’s recent purchase of Funimation is going to shake this up further, and likely for the worse.

      • There’s already a bunch of evidence to support that a bunch of shows they and Amazon snatched didn’t do as well popularity-wise as they otherwise would have with Crunchyroll’s model.

        I’m just so annoyed by the whole war going on now, of all times. For decades they didn’t give a damn and now somebody actually bothered making a business out of it (Crunchyroll) and being successful with it, and all the harpies that before wouldn’t have looked at anime for longer than it takes to dismiss it are coming to get a bite out of the pie.

        While competition is necessary, the one losing out here is the customer, due to having to spend money on multiple subscription services at once – and all of the new competitors are actually more expensive while offering far less to the customer, than the original service was and still is.

        • We’ll see where this goes from here. My suspicion is that Amazon, Funimation/Crackle (or whatever the new mash up is called), and Crunchyroll will be the main players. Netflix is going to have to figure out how to market this stuff they are making. Fate, which is as mixed bag an IP as I’ve ever seen, and Kakegurui are the only things they’ve got that I’m even remotely interested in. I may well forget both of those even exist by the time they come out and I suspect I’m not the only one.
          Given how bad cable prices got before people started cutting the cable, getting Netflix, Prime w/ Strike, CR, and Funi for just over $30 still feels like a deal. Keep in mind that HBO costs $15 a month and offers way less content. We have every reason to be concerned, but I think in the end the completion will be a good thing.

    • Andre

      The thing is, Crunchyroll is only anime. Netflix offers a bunch of choice including some anime. I like this.

      • Rahl

        That also means Netflix (and also Amazon) don’t care as much about the anime section of their catalog. To them, its a small product serving a small amount of customers. As opposed to Funimation and Crunchyroll, where anime is their everything. Sure, they both have toes in live action entertainment, but its not their bread and butter. Amazon and Netflix on the other hand, if anime failed for them, its just a – “Oh well.” followed by a shrug – moment. It would barely hurt them and that likely colors their treatment of their anime shows.

        The anime steaming and distribution thing that Funimation and Crunchyroll has going is also directly due to knowing the fandom pretty well. Netflix and Amazon likely don’t have that going for them unless they poached employees from the anime business to work as part of their own anime division.

        • UnpluggedBeta

          That’s been my experience as well. Netflix has especially suffered from this in the past.

          Meanwhile, crunchyroll grabs every show that goes off of license with the other players and the value of that subscription just gets better and better.

        • Somebody at Amazon gets it. They are releasing weekly like CR/Funi and they’ve been getting good shows. They still have a lot to learn, but I get the sense that they are trying. It probably doesn’t hurt that Bezos himself is known to be big anime fan.

  • Mr.Custodes

    How about you stop making new anime and add new seasons to your old ones!

    • A lot of anime is based on Light Novel or Manga originals, and more often than not a 12 episode season covers most of the current run. It takes years to get enough material for what airs within 3 months.
      I’d love for Log Horizon to get a third season, but with the novel’s author having legal troubles and no new volume in sight, that is unlikely (the material wouldn’t even cover 12 episodes, let alone the usual 24). ReZero, a super popular adaptation, could manage another 24 episodes, but that’d be stretching it with the novel content etc.

      And then you have the issue that a big determining factor are the actual Bluray and merchandise sales. A lot of good, mature series don’t do so great in that regard, whereas moeblob fanservice trash has it easy (which explains why there is so much of that these days). If the sales tank, there’s little chance for a continuation. In that regard, the Anime market is drastically different from the western shores where DVD/BD sales are often an afterthought and the money has already been made.

      That being said, there are countless series I’d love a sequel to. A lot of them would probably be better off with remakes, though, considering how long it has been.

    • Another thing to consider is that a lot of these shows are never intended to generate a lot of cash (and they often don’t). Frequently they are intended to draw people to the manga and light novels they are based on.
      That being said, there are plenty of movies and OVAs that function as sequels to existing shows that need a home. Here’s hoping that the somebody starts picking those up.

  • Spacefrisian

    Dunno why one would go to Netflix for anime when you can watch it on Chruncyroll for free shortly after Japanese airing.

    • All of these shows will be exclusive to Netflix. Part of the irritation with Netflix is that they sit on the content they acquire until after the show’s run is complete, sometimes for a month or more. They are focused on anime as content and are missing the cultural aspect, which is watching these shows weekly and discussing them with friends. Unless they figure that out they are going to be far less successful than they could be. CR has the major advantage of understanding the community.