Taken from a manga by Japanese writer Hajime Isayama, the apocalyptic series depicts humanity on the edge of a precipice, taking refuge behind formidable walls to protect themselves from the Titans. These giants behave like big children, with the difference that their only goal appears to be to devour humans.
The first season of Titans attack, which was released in 2013 in Japan and then picked up on Netflix in Canada, the United States and France, among others, giving it an influence outside of traditional animation fan circles.
Pour voir la suite des aventures d’Eren Jaeger et de ses collègues soldats et soldates d’élite en guerre contre les Titans, il faut s’abonner à Crunchyroll ou à Funimation, des plateformes consacrées à l’animationet du japonaise japonaise public.
Titans attack It is just one example of the struggle between online distribution platforms to gain the exclusivity of successful Japanese series and to attract anime fans.
The first season of Demon Slayer : Kimetsu no Yaiba, another phenomenon from Japan, just appeared on Netflix. Last week, the series was one of the 10 most-watched shows on the platform in Canada and the United States. But followers may have seen it on Crunchyroll or Funimation, where it has been introduced since 2019.
Pretty tight industry
Until recently, the Japanese animation industry showed little interest in exporting and displaying their products on the Internet, despite having a strong following around the world.
The Japanese audience for traditional television remains at the heart of business strategy, according to Mark Steinberg, a professor at Concordia University’s Mel Hoppenheim School of Film, who specializes in the animation industry.
However, in the early 2010s, online broadcasting giants came knocking on the doors of production houses and broadcasters to purchase the rights to broadcast successful series. The situation began to change in Japan, and prices began to inflate.
The entry of Netflix and Amazon into Japan was a wake-up call for TV broadcasters to engage them in online broadcasting.Mark Steinberg explains.
Complex Rights Negotiations
However, it is not easy for an outside company like Netflix to secure the streaming rights. You must negotiate with production committees that can include a large number of stakeholders: from the manga publisher to the company that produces derivative games, including the animation series’ production house and broadcaster.
L’attaque des Titans], mais pas la seconde, alors que Crunchyroll diffuse les derniers épisodes presque en simultané avec la télévision”,”text”:”C’est pas mal compliqué et ça fait que, par exemple, Netflix a la première saison [de L’attaque des Titans], mais pas la seconde, alors que Crunchyroll diffuse les derniers épisodes presque en simultané avec la télévision”}}” lang=”fr”>It’s not badly complicated which means, for example, that Netflix has Season 1 [de L’attaque des Titans]But not the second, while Crunchyroll airs the latest episodes almost simultaneously with TVMark Steinberg.
Netflix and Amazon quickly decided that rather than pay a lot of money to try to secure the rights, it was better for them to get involved in the production from the start and include exclusive streaming rights in the deal., continued.
In 2014, Netflix was broadcast exclusively knights of sidoniaSince then, it has doubled its partnerships with Japanese studios. Last October, the American giant signed agreements with Anima & Company studios, Science Saru, which has already produced remarkably Japan Laundries For Netflix and Mappa (who is behind the last season of The attack on the Giants, On the other hand).
In just four years, we have built a team in Tokyo dedicated to creating new content for fans of Japanese animation.The company said in a statement.
This kind of partnership has already given rise to several series on the US platform, including Modified Carbon: Resleeved.
Sony, strong opponent
Last December, Sony announced that US giant AT&T, which owns WarnerMedia and thus HBO, had accepted an offer to buy Crunchyroll’s $1.175 billion platform.
The Japanese company, which also owns Funimation, another major player in the global market for niche animation platforms, is working hard to take on Netflix.
With Crunchyroll, we will create the best possible experience for anime fans and more opportunities for creators, producers, and publishers in Japan and abroad.Sony said in a statement.
If Crunchyroll’s 4 million paid subscriptions pale in comparison to the 200 million people who subscribe to Netflix, Sony can hope to have a place to choose among the genre’s loyal followers.
Are we witnessing the birth of a player who can control the market? Professor Steinberg believes that Netflix, Amazon, and Sony (along with Crunchyroll and Funimation) have the means to fight an intense battle. And that’s not counting the Chinese giants who are also interested in anime:
We would almost never need a single service to access all of the animations.