Archive for the 'translation' Category

Top 25 Average Employee Salaries + Total Sales for the Japanese Film/Motion Picture Industry

Tuesday, June 29th, 2010

Source: Nensyu Labo, compiled by them via publicly available securities reports and documents submitted for 2008.

Average yearly salary, in tens of thousands of yen. (100,000 JPY = roughly $1100)

1. Toei: 864
2. Toho: 837
3. Shochiku: 735
4. Tokyo Rakutenchi: 710
5. Gonzo: 654
6. Toei Animation: 651
7. TYO Productions: 620
8. OS: 620
9. Tokyo Theatres: 619
10. Subaru Enterprise: 615
11. Kokusai Hoei: 607
12. Aoi Advertising Promotion Inc.: 605
13. Tohokushinsha: 604
14. Flight System Consulting: 571
15. Marvelous Entertainment: 534
16. Sotsu: 518
17. Shizukatsu: 512
18. IG Port: 501
19. Omega Project Holdings: 490
20. TMS Entertainment: 485
21. We’ve: 483
22. Kin-ei: 444
23. Nakanihon Kogyo: 435
24. Musashino Kogyo: 430
25. Tokyu Recreation: 383

Sales Rankings, in hundreds of million of yen (100,000,000 yen = roughly 1.1 million USD). Number in () after studio name is rank in above list of average employee salary.

1. Toho (2): 2134
2. Toei (1): 1076
3. Shochiku (3): 949
4. Tohokushinsha (13) : 681
5. TYO Productions (7): 311
6. Tokyu Recreation (25): 277
7. Tokyo Theatres (9): 232
8. Toei Animation (6): 217
9. Aoi Advertising Promotion Inc (12): 167
10. Sotsu (16): 159
11. TMS Entertainment (20): 141
12. Marvelous Entertainment (15): 101
13. IG Port (18): 71
14. OS (8): 65
15. Gonzo (5): 63
16. Tokyo Rakuenchi (4): 37
17. Kin-ei (22): 37
18. Nakanihon Kogyo (23): 37
19. Kokusai Hoei (11): 34
20. Flight System Consulting (14): 30
21. Omega Project Holdings (19): 30
22. We’ve (21): 30
23. Subaru Kogyo (10): 24
24. Musashino Kogyo (24): 20
25. Shizukatsu (17): 11

Afternoon Four Seasons Award (Shiki-shō) Information + Notable Recipients List

Sunday, May 30th, 2010

If you’re a follower of anime and manga news online, you might notice that a couple of times a year, articles are posted here and there announcing the winners of major manga prizes/awards like the Kodansha Award, the Shogakukan Award, the Japan Cartoonists Association Award, The Tezuka Osamu Cultural Prize, and so on. As some of you know (especially with the release of Bakuman), magazines also run newcomers’ awards in order to discover and encourage talented creators. These generally (and rather understandably) escape the notice of most people. With the apparent increase in English-language manga fans interested in what may have once been esoterica for fans over here like what magazine a given series ran in (I bet the majority of you could tell me what magazine Yotsubato! runs in!), I thought that folks might find some information on some of these awards to be interesting or useful.

For no reason other than the fact that I’ve seen its name pop up a lot recently while browsing the web, I’ve decided to start with the Afternoon Four Seasons Award, also known as the Shiki Award or Shiki-shō. Unsurprisingly, the Afternoon Four Seasons Award is awarded four times a year by Kodansha’s monthly seinen manga magazine Afternoon. The award was announced in the very first issue (the 1987/2 edition) of Afternoon, published in December of 1986.


2ch Copypaste Translation: Highest Single Disc Sales for Original TV Anime from 2006-2009

Thursday, May 27th, 2010

More 2ch copypaste since I’m bored and can’t turn on my lights to read manga since that’ll attract bugs. This is probably already reproduced somewhere on animesuki, but oh well. “Source is 2ch”, though I bet if you checked on the Oricon site or went to the diet library and took a look at Oricon Biz that you’d find numbers that agree with this! “Discs sold” is the number of discs listed as sold for the highest-selling single volume released of a given series.

But first, some pie charts:

from a Kadokawa booth at some convention or event or another.
Red = (light) novels
Green = manga
Purple = original
Blue = game
Yellow = other

Year Discs sold12 Title
2006 **,*** Sasami: Magical Girls Club
2006 **,*** Rakugo Tennyo Oyui
2006 **,*** Himawari!
2006 *2,616 Ayakashi Ayashi / Ghost Slayers Ayashi
2006 *2,377 Renkin San-kyuu Magical Poka~n
2006 **,*** Noein
2006 *2,220 Tactical Roar
2006 **,*** Akubi Girl
2006 **,*** Coyote Ragtime Show
2006 *2,489 Hell Girl Season 2
2006 **,*** Saint October
2006 **,*** Funny Pets< ?td>

2006 **,*** Hula Kappa
2006 **,*** Nerima Daikon Brothers
2006 *2,643 Galaxy Angel Rune
2006 **,*** Simoun
2006 *1,842 Rescue Wings
2006 **,*** Love Get Chu
2006 **,*** The Frogman Show
2006 **,*** Red Garden
2006 *1,248 009-1
2006 2,140 Ayakashi – Samurai Horror Tales
2006 **,*** The Galaxy Railways – Crossroads to Eternity
2006 68,821 Code Geass
2006 **,*** Glass Fleet
2006 **,*** Gin’iro no Olynssis
2006 **,*** Soukou no Strain
2006 **,*** Hime-sama Goyoujin
2006 **,*** Innocent Venus
2006 **,*** Night Head Genesis
2007 22,215 Tengen Toppa Gurren Lagann
2007 23,688 Magical Girl Lyrical Nanoha StrikerS
2007 **,*** Himawari!!
2007 **,*** Chibinacs
2007 *3,440 sola
2007 *3,471 Sky Girls
2007 **,*** El Cazador de la Bruja
2007 *2,8993  Gakuen Utopia Manabi Straight
2007 **,*** Gigantic Formula
2007 **,*** Dragonaut
2007 –,— Engage Planet Kiss Dum
2007 **,*** Kotetsu Sangokushi
2007 *1,374 Getsumen To Heiki Miina
2007 15,150 Mononoke
2007 *9,099 Darker than Black
2007 **,*** Sisters of Wellber
2007 **,*** Ghost Hound
2007 57,957 Gundam 00
2008 *1,278 Blassreiter
2008 24,643 Fireball
2008 *3,045 Hell Girl Season 3
2008 **,*** Shigofumi
2008 **,*** Bihada Ichizoku
2008 **,*** Glass Maiden (Crystal Blaze)
2008 **,*** Michiko to Hacchin
2008 **,*** The Daughter of Twenty Faces
2008 **,*** Real Drive
2008 59,041 Code Geass R2
2008 64,981 Macross F
2008 49,943 Gundam 00 Second Season
2008 *1,958 Xam’d: Lost Memories
2009 **,*** Munto TV
2009 *3,479 Sora Kake Girl
2009 **,509 Tokyo Magnitude 8.0
2009 **,*** Anyamal Tantei Kiruminzoo
2009 **,*** Element Hunters
2009 10,446 Eden of the East
2009 **,564 Basquash

I need a drink. As posters note, at least we’ll be able to count on Angel Beats! Hm, maybe two drinks.

  1. **,*** means all volumes failed to chart. []
  2. chart does not include remakes and kids shows []
  3. フヒヒ、サーセン []

Largest First Printings for Manga by the “Big Three” for 2009

Thursday, May 27th, 2010

From a copypaste floating around 2ch (post 45). No source listed, but I bet that if you did what a lot of data posters do and went to the diet library and looked at an expensive book like the 2010 Publishing Index by the Research Institute for Publications that you’d find very similar numbers!

Publisher Copies printed vs ’08 Title #volume
Shueisha 3,000,000 +500,000 One Piece #57
Shueisha 1,575,000 +45,000 Naruto #50
Shueisha 1,450,000 -20,000 Hunter x Hunter #27
Shueisha 1,200,000 -60,000 Bleach #41
Kodansha 1,100,000 -40,000 Nodame Cantabille #22
Kodansha 1,080,000 -100,000 Vagabond #30
Shueisha 860,000 -90,000 Real #9
Shogakukan 860,000 -70,000 Detective Conan #64
Shogakukan 800,000 -70,000 Pluto #8
Shueisha 800,000 +170,000 Kimi ni Todoke #10
Kodansha 750,000 +100,000 Saint Young Men #4
Shueisha 650,000 -50,000 D.Gray-man
Shueisha 610,000 -30,000 Gintama #28
Shueisha 610,000 -20,000 Hitman Reborn #26
Kodansha 550,000 +160,000 Fairy Tail #20
Kodansha 530,000 -60,000 Big Windup
Kodansha 500,000 n/a Billy Bat #1
Kodansha 500,000 n/a GTO Shonan 14days #1
Kodansha 495,000 -85,000 Initial D #39
Shueisha 490,000 n/a Bakuman #7
Shueisha 470,000 +20,0001 New Prince of Tennis #2
Kodansha 460,000 -30,000 Hajime no Ippo #88
Shogakukan 480,000 2 Bokura ga Ita #13
Shogakukan 480,000 55,000 Black Lagoon #9
Kodansha 450,000 -70,000 xxxHolic #16
Shogakukan 450,000 +-0 Hayate the Combat Butler #21
Kodansha 445,000 +250,000 Moyashimon #8
Shogakukan 440,000 +25,000 Cross Game #16
  1. compared to vol1 []
  2. no volumes printed in 2008 []

More Details on the JAniCA/Agency for Cultural Affairs Animator Training Project

Tuesday, May 25th, 2010

…in condensed bullet point form of because there’s no way i’m completely translating a 39 page technical PDF just for fun, even if the project is really interesting.

Anyway, this project was announced earlier this month and the initial announcement about the basic form of the project (4 23-minute original animations to be produced with a 38 million yen budget each, with production focusing on the training of young animators) was picked up by the usual suspects. However, the general reaction on the comments sections seemed to be on the negative side, which was a little baffling to me. I have a lot of trust and respect for JAniCA, as they’ve been one of the most staunch supporters of animators (see translations here, here, and just about every substantial report over the last few years about animator salaries) and so the endless comments of “what is government doing???? just give money to the animators!!” were a little disheartening. These complaints seemed especially silly since the government funding is only coming in at around $2 million US, which in my admittedly rather business-ignorant mind isn’t going to do a whole lot if they just threw it towards wages. (Though if they took the proposed $130 million LDP budget for the manga library and gave that cash to animators, then maybe it’d be a different story…)

Anyway, I got to looking at the detailed application sheet that JAniCA put out a few days later, and wouldn’t you know it, it looks like a very well-meaning, intelligently drafted, and fast-acting plan! Anyway, here are your bullet points, as promised earlier. I’m doing this on a bit more of a rush than normal for me, so goyaku gomen. Please leave comments if you have any corrections/questions.


2ch Copypaste of the Day: What the Average Citizen Knows about Robot Anime Series

Wednesday, May 5th, 2010

Taken from a 2ch copypaste that’s making the rounds today

Gundam: That story where Amuro and Char fight

Eva: Pachinko

Macross: Singing

Geass: Never heard of it

Votoms: Follows a main character named Chirico Cuvie (Kiriko Kyuubi), a former special forces Armored Trooper pilot and former member of the Red Shoulder Battalion, an elite mecha force used by the Gilgamesh Confederation in its war against the Balarant Union—both interstellar nations within the distant Astragius Galaxy. Gilgamesh and Balarant had until recently been locked in a century-old galactic war whose cause was long ago forgotten. Now, the war is ending and an uneasy truce has settled. Chirico Cuvie is suddenly transferred to a unit engaged in a suspicious mission, unaware that he is aiding to steal secrets from what appears to be his own side. Chirico is betrayed and left behind to die, but he survives, is arrested by the Gilgamesh military as a traitor, and tortured for information on their homeworld. He escapes—triggering a pursuit extending across the entire series, with Chirico hunted by the army and criminals alike as he seeks the truth behind the operation. He is driven to discover the truth of one of the objects he was assigned to retrieve in that operation: A mysterious and beautiful woman who would become his sole clue to unraveling the galactic conspiracy.1

  1. The original post copy/pastes the first section of the Japanese wiki summary of the series so I’ve done likewise with English here. []

A 2ch Poster’s Reading of Anime DVD/BD Sales Charts

Monday, May 3rd, 2010

Or “Sales Barriers for Anime”

This was originally going to be named “how 2ch reads sales charts” but then I remembered that trying to classify any part of 2ch as a singular is a rather foolish thing to do unless you want hits. Wait, oops.

Anyway, this is obviously not gospel truth, but a neat, simplified guide by someone who is clearly somewhat of an industry watcher and a brave warrior on the battlegrounds of the 2ch sales threads. Disc sales numbers referred to here are Oricon numbers.

Mostly anime where disc sales are not a main concern from the beginning; either truly insignificant shows1 or close to it.
Ex: NHK anime, Children’s anime, Pay channel shows (WOWOW, etc), Nippon TV late night shows, Gonzo shows, IG Original shows, etc

Mostly insignificant shows. Shows in this area generally failed to attract any interest and are looked upon as endangered, shadowy species.
Ex: Gin’iro no Olynssis, Hyakko, Hero Tales, Shikabane Hime, Akikan!, etc

The line between significance and insignificance. Depending on the week, the title may chart if it gets lucky. However, these titles are normally frightened away from the charts, as they’re afraid that Totoro might squash them.
Ex: Yozakura Quartet, Blassreiter, Simoun, Kaze no Stigma, Nabari no Ou, etc

Significant enough to not count as insignificant. However, their poor sales are generally enough to chart, often causing people to only feel pity or sympathy for them.
Ex: Ghost Slayers Ayashi, Galaxy Angel Rune, Kimikiss, Our Home’s Fox Deity, Kyoran Kazoku Nikki, etc

Light novel anime often falls in this category. Might be enough to turn a profit with Kadokawa DVD pricing. The title considered the hurdle is now quantified as a single unit of sales, as in “one Zega.” Anime in this category is considered to be in dangerous territory, as Manabi, the problem child, often makes faces at these titles.
Ex: Rental Magica, Goshusho-sama Ninomiya-kun, Kurenai, Shinkyoku Sokai Polyphonica, Zegapain, etc.

Many titles fall in this category. Marginally performing shows, many of which didn’t sell as much as their popularity would make you think they would.
Ex: Manabi Straight!, true tears #1, Sketchbook, Gun X Sword, Yami to Boshi to Hon no Tabibito

The line of profitability. Also the line at which one could say a title is doing okay, but some may call some titles that sell this many a failure, so it’s quite hard to judge.
Ex: Denno Coil, Soul Eater, School Days, Linebarrels of Iron, Super Robot Swars OG, etc

Titles that gathered a reasonable amount of attention and sold reasonably well. Posters may still make fun of these titles’ sales, but they’re rarely considered “failures.” Growth stocks.
Ex: Seto no Hanayome, Bamboo Blade Garei -Zero-, Higurashi no Naku Koro Ni, Planetes, etc

The point where a second season looks likely, and a reasonable number of discs one can hope to sell. Producers seem to begin to be praised at this point.
Ex: Strawberry Marshmallow, Rozen Maiden, Hidamari Sketch, The Familiar of Zero, Darker than Black, etc

Impressive sales, favorites that can easily be called “hits.”
Ex: Spice and Wolf, Full Metal Panic Fumoffu, Nodame Cantabile, My-Otome, Sgt. Frog, etc

The entry point into the world of five-figure sales. There is no problem with calling regular late night anime that sell this much a “major hit.”
Ex: Toradora, Shakugan no Shana, Natsume’s Book of Friends, Pani Poni Dash!, Fafner in the Azure, etc

The top class of sales for titles that target the narrow otaku community. Praiseworthy honors students.
Ex: Minami-ke, s-CRY-ed, Da Capo, Strike Witches, Eureka Seven, etc

The point at which people who normally don’t buy DVDs begin to buy a title. Outstanding works brimming with frontier spirit.
Ex: Gintama, Death Note, Big Windup, Aria the Animation, Negima, etc

Properties with many strong, ardent, and powerful supporters. Major stars with deep fanbases.
Ex: Air, Tengen Toppa Gurren-Lagann, Magical Girl Lyrical Nanoha StrikerS, Clannad, Hetalia, etc

Titles in between the above and below categories that stand as influential and steadfast titles.
Ex: Lucky Star, Azumanga Daioh, G.I.T.S. SAC 2nd GIG, Initial D 4th Stage, Fate/Stay Night, etc

New leaders that become the talk of the industry. Incredible flamewars break out between supporters of titles of this group and titles in the next tier.
Ex: Full Metal Alchemist, The Melancholy of Haruhi Suzumiya, Code Geass, Macross F, Gundam 00, etc

In a completely different class from the rest. Godly sales.
Ex: Gundam SEED, theatrical anime (Kara no Kyokai, The Girl Who Leapt Through Time), Bakemonogatari, etc

Theatrical anime or anime made for the public at large. The stars of the industry.
Ex: Ghibli anime, Eva films, Zeta Gundam: A New Translation, Final Fantasy VII Advent Children, The World of Golden Eggs, etc

  1. keep in mind that the kind of poster who would make this chart judges a show’s worth by its economic performance. original term 雑魚, or “small fry” []

Sakuga@wiki’s List of Recommended Sakuga Anime

Saturday, May 1st, 2010

Completely via 作画@wiki:

“A listing of works whose animation (sakuga) stands out due to quality, uniqueness, or historic importance.”

(Note: I have made an attempt to use English/US titles when possible.)

Theatrical Films A-L
Theatrical Films M-Z
TV Specials
TV Series
Foreign Works

Theatrical Films A-L

  • A Tree of Palme (Palm Studio, 2002)
  • AKIRA (Tokyo Movie Shinsha, 1988)
  • Animal Treasure Island (Toei Doga, 1971)
  • Blood: The Last Vampire (Production I.G., 2000)
  • Bobby’s Girl (Madhouse, 1985)
  • Brave Story (Gonzo, 2006)
  • Catnapped! The Movie (Triangle Staff, 1998)
  • Chibi Maruko-chan: My Favorite Song (Ajiado, 1992)
  • Coo: Toi Umi kara Kita Coo (Toei Animation, 1993)
  • Cowboy Bebop: Knockin’ on Heaven’s Door (Bones, Sunrise, 2001)
  • Crayon Shin-chan: Adventure in Henderland (Shin-Ei Doga, 1996)
  • Crayon Shin-chan: Unkokusai’s Ambition (Shin-Ei Doga, 1996)
  • Dead Leaves (Production I.G., 2004)
  • Digimon Adventure (Toei Animation, 1999)
  • Digimon Adventure: Our War Game! (Toei Animation, 2000)
  • Digimon Aventure 02: Diaboromon Strikes Back (Toei Animation, 2001)
  • Doraemon: Nobita’s Dinosaur (Shin-Ei Doga, 2006)
  • Doraemon: The Day When I Was Born (Shin-Ei Doga, 2002)
  • Escaflowne: the Movie (Sunrise, Bones, 2000)
  • Eureka Seven: Pocket Full of Rainbows (Bones, Kinema Citrus, 2009)
  • Evangelion: 1.0 You Are (Not) Alone (Khara, 2007)
  • Evangelion: 2.0 You Can (Not) Advance (Khara, 2009)
  • Fatal Fury: The Motion Picture (Studio Comet, 1994)
  • Fullmetal Alchemist the Movie: Conqueror of Shamballa (Bones, 2005)
  • Galaxy Express 999 (Toei Doga, 1979)
  • Gauche the Cellist (Oh! Production, 1982)
  • Genius Party (Studio 4℃, 2007)
  • Genius Party Beyond (Studio 4℃, 2008)
  • Ghiblies: Episode 2 (Studio Ghibli, 2002)
  • Ghost in the Shell (Production I.G., 1995)
  • Ghost in the Shell: Innocence (Production I.G., 2004)
  • Golgo 13 (Tokyo Movie Shinsha, 1983)
  • Grave of the Fireflies (Studio Ghibli, 1998)
  • Gurren Lagann The Movie: Childhood’s End (Gainax, 2008)
  • Gurren Lagann The Movie: The Lights in the Sky are Stars (2009)
  • Harmageddon (Madhouse, 1983)
  • Hashire Melos! (Visual 80, 1992)
  • Hols: Prince of the Sun (Toei Doga, 1968)
  • Howl’s Moving Castle (Studio Ghibli, 2004)
  • Inuyasha the Movie 4: Fire on the Mystic Island (Sunrise, 2004)
  • Jin-Roh (Production I.G., 2000)
  • Junkers Come Here (Triangle Staff, 1995)
  • Kaiketsu Zorori (Ajiado, Sunrise, 2006)
  • Kara no Kyoukai (ufotable, 2007-2009)
  • Kiki’s Delivery Service (Studio Ghibli, 1989)
  • Kumo to Churippu (“Spider and Tulip”) (Shochiku Doga Kenkyuujo, 1943)
  • Laputa: Castle in the Sky (Studio Ghibli, 1986)
  • Lensman (Madhouse, 1984)

Theatrical Films M-Z

  • Macross: Do You Remember Love? (Tatsunoko Pro, 1984)
  • Mai Mai Miracle (Madhouse, 2009)
  • Memories (Studio 4℃, 1995)
  • Metropolis (Madhouse, 2001)
  • Millenium Actress (Madhouse, 2002)
  • Mind Game (Studio 4℃, 2004)
  • Mobile Suit Gundam: Char’s Counterattack (Sunrise, 1988)
  • Munto: Tenjobito to Akutobito Saigo no Tatakai (Kyoto Animation, 2009)
  • My Neighbor Totoro (Studio Ghibli, 1988)
  • My Nighbors the Yamadas (Studio Ghibli, 1999)
  • Naruto Shippuden 3: Inheritors of the Will of Fire (Studio Pierrot, 2009)
  • Naruto: Guardians of the Crescent Moon Kingdom (Studio Pierrot, 2006)
  • Naruto: Legend of the Stone of Gelel (Studio Pierrot, 2005)
  • Naruto: Ninja Clash in the Land of Snow (Studio Pierrot, 2004)
  • Naruto: Shippuden the Movie 2: Bonds (Studio Pierrot, 2008)
  • Nasu: Summer in Andalucia (Madhouse, 2003)
  • Nausicaa of the Valley of the Wind (Topcraft, 1984)
  • Neo-Tokyo (Project Team Argos, Madhouse, 1987)
  • Ninku: The Movie (Studio Pierrot, 1994)
  • One Piece the Movie: Episode of Chopper + Fuku ni Saku, Kiseki no Sakura (Toei Animation, 2008)
  • One Piece the Movie: Omatsuri Danshaku to Himitsu no Shima (Toei Animation, 2005)
  • One Piece: Taose! Kaizoku Ganzakku! (Production I.G., 1998)
  • Only Yesterday (Studio Ghibli, 1991)
  • Paprika (Madhouse, 2006)
  • Patlabor 2: The Movie (Production I.G., 1993)
  • Perfect Blue (Madhouse, 1998)
  • Pom Poko (Studio Ghibli, 1994)
  • Ponyo (Studio Ghibli, 2008)
  • Porco Rosso (Studio Ghibli, 1992)
  • Princess Mononoke (Studio Ghibli, 1997)
  • Puss in Boots (Toei Doga, 1969)
  • Rojin Z (A.P.P.P., 1991)
  • Royal Space Force: The Wings of Honneamise (Gainax, 1987)
  • Slime Boukenki ~Umi da, Ie-~ (Production I.G., 1999)
  • Spirited Away (Studio Ghibli, 2001)
  • Spriggan (Studio 4℃, 1998)
  • Steamboy (Sunrise, 2004)
  • Summer Wars (Madhouse, 2009)
  • Sword of the Stranger (Bones, 2007)
  • Tekkon Kinkreet (Studio 4℃, 2006)
  • The Animatrix (Studio 4℃, Madhouse, others, 2003)
  • The Castle of Cagliostro (Tokyo Movie Shinsha, 1979)
  • The Dagger of Kamui (Project Team Argos, Madhouse, 1985)
  • The End of Evangelion (Production I.G., Gainax, 1997)
  • The Girl Who Leapt Through Time (Madhouse, 2006)
  • The Sky Crawlers (Production I.G., 2008)
  • Tobe! Kujira no Peek (Urban Product, 1991)
  • Tobe! Pegasus (Shinano Kikaku, 1995)
  • Tokyo Godfathers (Madhouse, 2003)
  • Vampire Hunter D (Madhouse, 1999)
  • Venus Wars (Triangle Staff, 1989)
  • Wanpaku Oji no Orochi Taiji (Toei Doga, 1963)
  • Whisper of the Heart (Studio Ghibli, 1995)
  • Wicked City (Madhouse, 1987)
  • Windaria (Kaname Production, 1986)
  • X: the Movie (Madhouse, 1996)
  • xxxHolic: A Midsummer Night’s Dream (Production I.G., 2005)
  • Yu Yu Hakusho The Movie: Poltergeist Report (Studio Pierrot, 1994)


  • Animation Runner Kuromi 2 (Yumeta Company, 2003)
  • Armored Trooper VOTOMS: Shining Heresy (Sunrise, 1994)
  • Battle Royal High School (D.A.S.T., 1987)
  • Black Magic M-66 (A.I.C., 1987)
  • Blue Submarine No.6 (Gonzo, 1998-2000)
  • Cat Soup (J.C. Staff, 2001)
  • Cream Lemon Part 4: Pop Chaser (Fairy Dust, 1985)
  • Darkside Blues (J.C. Staff, 1994)
  • Diebuster (Gainax, 2004-2006)
  • Doomed Megalopolis (Madhouse, 1991)
  • Download: Namuamidabutsu wa Ai no Uta (Madhouse, 1992)
  • Dragon Quest Fantasia Video (Gainax, 1988)
  • FLCL (Production I.G., Gainax, 2000-2001)
  • Giant Robo: The Day the Earth Stood Still (Phoenix Entertainment, 1992-1998)
  • Golden Boy (A.P.P.P., 1995-1996)
  • Gosenzo-sama Banbanzai! (Studio Pierrot, 1989-1990)
  • Gunbuster (Gainax, 1988-1989)
  • Idol Project (Studio OX, 1995-1997)
  • Jojo’s Bizarre Adventure (A.P.P.P., 1993-1994, 2000-2002)
  • Karas (Tatsunoko Pro, 2005-2007)
  • Leda: The Fantastic Adventure of Yoko (Kaname Production, 1985)
  • Macross Plus (Triangle Staff, 1994-1995)
  • Megazone 23 Part II (A.I.C., 1986)
  • Mezzo Forte (Arms, 2000-2001)
  • Mighty Space Miners (Triangle Staff, 1994-1995)
  • Mobile Suig Gundam 0083: Stardust Memory (Sunrise, 1991-1992)
  • Mobile Suit Gundam 0080: War In the Pocket (Sunrise, 1989)
  • Nasu: A Migratory Bird with Suitcase (Madhouse, 2007)
  • Nyuin Bokki Monogatari Odaiji Ni (Tokyo Kids, 1991)
  • Photon (A.I.C., 1997-1999)
  • Planet Busters (Kaname Production, 1984)
  • Planet of Miss China (Ajiado, 2001)
  • Puppet Princess (Tokyo Movie, 2000)
  • Ranma 1/2: Nightmare! Incense of Spring Sleep (Studio Deen, 2008)
  • Re: Cutie Honey (Toei Animation, Gainax, 2004)
  • Record of Lodoss War (Madhouse, 1990-1991)
  • Refrain (Oh! Production, 1993)
  • Robot Carnival (A.P.P.P., 1987)
  • Rurouni Kenshin: Reflection (Studio Deen, 2001-2002)
  • Rurouni Kenshin: Trust and Betrayal (Studio Deen, 1999)
  • Saber Marionette R (Animate Film, Zero-G Room, 1995)
  • Street Fighter Alpha: Generations (A.P.P.P., 2005)
  • Street Fighter Alpha: The Movie (Group TAC, Plum, 2000)
  • Tenyamonya Voyagers (Studio Pierrot, 1999)
  • The Fire G-Men (Yomiuri Eigasha, 1974)
  • The Hakkenden (AIC, 1990-1991)
  • The Hakkenden ~Shinsho~ (AIC, 1993-1995)
  • Urotsukidoji (Original Trilogy) (1987-1989)
  • Virgin Night (Shinkuukan, 2001)
  • Wild Cardz (Studio OX, 1997)
  • You’re Under Arrest! (Studio DEEN, 1994-1995)

TV Specials

  • Afro Samurai (Gonzo, 2007)
  • Fatal Fury: Legend of the Hungry Wolf (Studio Comet, 1992)
  • Hajime no Ippo: Champion Road (Madhouse, 2003)
  • Like the Clouds, Like the Wind (Studio Pierrot, 1990)
  • Lupin III: Walther P-38 (Kyokuichi Tokyo Movie, 1997)
  • Spring and Chaos (Group TAC, 1996)
  • Sugata Sanshiro (Tokyo Movie Shinsha, 1981)
  • The Ocean Waves (Studio Ghibli, 1993)

TV Series

  • 3000 Leagues in Search of Mother (Nippon Animation, 1976)
  • Ayakashi: Samurai Horror Tales (Toei Animation, 2006)
  • Blue Comet SPT Layzner (Sunrise, 1985-1986)
  • Casshern Sins (Madhouse, 2008-2009)
  • City Hunter (Nippon Sunrise, 1987-1988)
  • Cowboy Bebop (Sunrise, 1998)
  • Denno Coil (Madhouse, 2007)
  • Dokkoida?! (ufotable, 2003)
  • Dokonjo Gaeru (Tokyo Movie, 1972-1974)
  • Eureka Seven (Bones, 2005-2006)
  • Full Metal Alchemist (Bones, 2003-2004)
  • Future Boy Conan (Nippon Animation, 1978)
  • Gaiking Legend of Daiku-Maryu (Toei Animation, 2005-2006)
  • Ganba no Boken (Tokyo Movie, 1975)
  • Ganzo Tensai Bakabon (Tokyo Movie, 1975-1977)
  • Ghost in the Shell S.A.C. 2nd GIG (Production I.G., 2004-2005)
  • Ghost in the Shell: Stand Alone Complex (Production I.G., 2002-2003)
  • Kaiba (Madhouse, 2008)
  • Kaiketsu Zorori (Anba Filmworks, Ajiado, 2004-2005)
  • Kamichu! (Brain’s Base, 2005)
  • Kemonozume (Madhouse, 2006)
  • K-On! (Kyoto Animation, 2009)
  • Lupin III (First series) (Tokyo Movie, 1971-1972)
  • Lupin III (Second series, episodes created by Telecom) (Tokyo Movie Shinsha, 1977-1980)
  • Machine Robo: Revenge of Chronos (Ashi Production, 1986-1987)
  • Magic Knight Rayearth (Tokyo Movie, 1994-1995)
  • Magical Shopping Arcade Abenobashi (Madhouse, 2002)
  • Master Keaton (Madhouse, 1998-1999)
  • Medabots (Bee Train, 1999-2000)
  • Mononoke (Toei Animation, 2007)
  • Moribito: Guardian of the Spirit (Production I.G., 2007)
  • Neo Ranga (Studio Pierrot, 1998-1999)
  • Neon Genesis Evangelion (Tatsunoko Pro, Gainax, 1995-1996)
  • Ninku (Studio Pierrot, 1995-1996)
  • Noein: To Your Other Self (Sattelite, 2005-2006)
  • Paranoia Agent (Madhouse, 2004)
  • Popolocrois Monogatari (Bee Train, 1998-1999)
  • R.O.D. -THE TV- (J.C. Staff, 2003-2004)
  • Rahxephon (Bones, 2002)
  • Red Photon Zillion (Tatsunoko Pro, 1987)
  • Revolutionary Girl Utena (J.C. Staff, 1997)
  • Samurai Champloo (Manglobe, 2004)
  • Sasuga no Sarutobi (Tsuchita Production, 1982-1984)
  • Space Battleship Yamato (Office Academy, 1974-1975)
  • Space Cobra (Tokyo Movie Shinsha, 1982-1983)
  • Space Pirate Captain Herlock (Madhouse, 2003)
  • Tengen Toppa Gurren Lagann (Gainax, 2007)
  • The Adventures of Peter Pan (Nippon Animation, 1989)
  • The Vision of Escaflowne (Sunrise, 1996)
  • Windy Tales (Production I.G., 2004-2005)
  • Xam’d: Lost Memories (Bones, 2008-2009)
  • Yu Yu Hakusho (Studio Pierrot, 1992-1995)

Selected episodes from other TV series (note: coming soon?)


  • 3-nen B-gumi Kinpachi Sensei: Densetsu no Kyoudan ni Tate! (Chunsoft, 2004)
  • Akiiro Renka OP (2005)
  • Double Cast (Production I.G., 1998)
  • Ghost in the Shell (Production I.G., 1997)
  • Hanjuku Hero 4: 7-nin no Hanjuku Hero (Tatsunoko Pro, 2005)
  • Hanjuku Hero Tai 3D OP (Tatsunoko Pro, 2003)
  • Magical Girl Pretty Sammy: Heart no Kimochi extra movie, “My Favorite Boy” (1998)
  • Musashi: Samurai Legend OP (Gainax, 2005)
  • Muv-Luv Alternative (Stack, Silver, 2006)
  • Popolocrois Monogatari (Triangle Staff, 1996)
  • Popolocrois Monogatari II (Production I.G., 2000)
  • Quo Vadis 2: Wakusei Kyoshuu Orphan Rei (1997)
  • Sakura Wars 3 (Production I.G., 2001)
  • Sakura Wars 4 (Production I.G., 2002)
  • Sentimental Graffiti (Marcus, 1998)
  • Sonic CD
  • Summon Night 2 (Production I.G., 2001)
  • Summon Night 3 (Studio 4℃, 2003)
  • Summon Night 4 (Production I.G., 2006)
  • Surveillance Kanshisha (Production I.G., 2002)
  • Tales Series (Production I.G.)
  • Wild Arms 2 OP (1999)
  • Wild Arms 3 OP (2002)
  • Xenogears (Bee Train, 1998)



  • Glay, “Survival” (Studio 4℃, 1999)
  • Ken Ishii, “EXTRA” (Studio 4℃, 1994)
  • Linkin Park, “Breaking the Habit” (Gonzo, 2004)
  • Yui Aragaki, “Piece” (Studio Ghibli, 2009)


  • Daicon IV Opening Animation (DAICON FILM, 1983)
  • Kenta to Panna Cotta (Yoyogi Animation Gakuin Fukuoka Campus Class of 2000 Graduation Project)


  • capsul3Bunsaku (Studio Ghibli, 2005)
  • Jumping (Tezuka Production, 1984)
  • Superflat Monogram (Toei Animation, 2003)
  • X2 -Double X- (Animate Film, Madhouse, 1993)

Foreign Works

  • Bambi (USA, 1942)
  • Snow White and the Seven Dwarves (USA, 1937)
  • The Cowboy’s Flute (PRC, 1963)
  • The Secret of NIMH (USA, 1982)
  • The Snowman (England, 1982)
  • The Fly (Hungary, 1980?)
  • Tom and Jerry (USA, 1940)
  • Tom and Jerry: The Cat Concerto (USA, 1946)

Is it True? Everyone Working in Anime is Poor?

Thursday, April 15th, 2010

Blogger’s/Translator’s introduction: This is the followup post to an earlier translation of 30-year veteran animator and director Yamasaki Osamu‘s blog post regarding the financial situation of the animation industry and animators in specific. Again, this post was originally posted on his blog on the JAniCA (Japan Animation Creators Association) website. Again, I would like to thank Yamasaki-san and Nekomiya-san from JAniCA for allowing me to translate and post the following article.


It seems like some people misunderstood my previous post about the disastrous situation going on with new animators, and thought that everyone involved in anime production is in the same situation, but the situation isn’t that miserable… at least, that’s how I feel.

To put it better, whether you’re someone making a decent living or if you’re someone sliding into poverty, two groups of people who coexist in the anime industry, depends on what department you’re working in, not your experience or your accomplishments… would be the way to put it.

I wrote that if you halved the unit price paid per drawing for painters, then inbetweeners could make a living. However, if you wanted to adjust the budget in other ways, I can come up with a lot of ways to do it.

I’m not sure if I should write something like this in a place like this, but… In the anime industry right now, production supervisors, the people that ought to know how to allocate a budget, have no idea what’s actually going on in the studios. As a result, I think that this is causing the state of the industry to grow worse and worse.

And so… I’ll take it upon myself to say this here:

“A lot of anime production staff are making plenty of money!!”
“What’s more, all that’s needed to save inbetweeners is 500,000 yen ($5,500 usd) an episode from a 10 million yen ($112,000) TV series episode budget!”

How much money is needed to raise the unit cost for an inbetweener from 200 to 300 yen? How much are we missing? An average episode uses 4000-5000 in-between frames. Looking at those numbers, how short are we falling? All you need is 500,000 yen an episode to give this raise.

Is it really not possible to raise this amount of money?

Last time, I wrote about reducing the unit cost for painters, but I think there are plenty of other places where you can find the money.

To give one example that I’m aware of, let’s look at sound director pay.

A sound director for a TV series makes an average of 150,000-180,000 yen ($1,675-$2000) an episode.
The director for the same episode makes 200,000-250,000 yen ($2,200-2,800).
The animation director makes around 300,000 yen ($3,350).

On first glance, these numbers might look fair, but in reality, that’s not the case at all. I wrote about this last time, but an animation director is bound for about a month and a half to the job he’s paid 300,000 yen for, so that comes out to making around 200,000 yen a month.

For directors, it might take six months preparation to begin work on a 25-26 episode (half-year) series, so you could calculate their monthly pay to be about 500,000 yen ($5,600).

In comparison, a sound director takes two days to complete an episode, including preparation time. Therefore, a lot of sound directors work on 2-3 titles at a time, for a total of 3 episodes a week. Taking on 12 episodes a month isn’t hard or uncommon.
Monthly pay: 150,000 yen x 12 episodes = 1,800,000 yen ($20,000).
Sound directors who make over 20,000,000 yen ($223,000) a year are common.

As for scenario writers, they make around 180,000 yen ($2,000) a script and work on 2-3 at a time, but unlike sound directors, it’s fairly unheard of to write a completed script in 2 days. We can say that they finish an average of 1-2 scripts in an average month, putting their monthly income from manuscript fees at about 300,000 ($3,350) yen.
Whether you think this is a lot or a little, depending on the show1, a writer may be paid script royalties if the work becomes a hit, making millions of yen without doing any extra work. Since one could be working on three or more shows each month, the chances that a writer will write a script for a hit series increases.
As a result, a writer who does proper work would reach 10 million yen ($110,000) a year.
Of course, there are writers who make more, and I’m sure there are writers who don’t make this much.

One thing you can definitely say, though, is that a series becoming a hit or not isn’t necessarily linked to the quality of the script.

Besides these examples, 800,000-1,000,000 yen (~$9,000-$11,000) an episode is allotted to cinematography an episode. A cinematography team is made up of 4-5 people, and complete one TV episode in 3-4 days.
Aside from this, other “sentori” jobs for the team such as inbetween photography, keyframe photography, and storyboard photography2 may arise if there isn’t tight control on the schedule, and these jobs are included in the pay.
Even so, the 4-5 person team ends up making a total of 4 million yen or more a month. ($44,500)

Looking at the numbers I’ve written above, you could conceivably compare the level of each section’s pay to the average in other industries and say something like “Well… around 20 million yen a year seems normal.” After all, that’s around what the salaried employees at the TV stations and the ad agencies make, so people involved in anime making that much doesn’t seem too strange.

However, when you think what it takes to actually produce a given anime, how much does each of these groups contribute? How much should each section really be paid?
I think that producers ought to think about these things.

Aren’t sound directors being paid too much?
If you’re going to pay screenwriters royalties, do you really need to also pay guarantees?
Do you really have to pay so much to low-level writers whose involvement amounts to being middlemen for the person doing series composition?
Aren’t cinematographers being given extra work because production managers are careless?

And while I’m at it, “Animation directors are even worse off than inbetweeners!!”

I really think about all of these things.

Working in the anime industry today, the job I want to do the least is working as an animation director.
You take the blame when things turn out poorly, and even though you have to fix every layout and keyframe, inexperienced keyframe artists make 4000 yen a cut. If you break it down, animation directors don’t even get paid at the level of 1000 yen a cut.
If you break it down by drawing, it’s less than the inbetweeners, despite making as little as they do.
For veteran animation directors who might be responsible for almost half a work’s perceived quality, there’s far too wide of a gap between labor done and money paid.

When sound directors who don’t know what’s going on come up to me and tell me like they’re stressed out from working, “Hey, we can’t do any sound work because we don’t have any proper drawings, just keyframe photography,” I want to tell them “okay then, why don’t you quit?”
How much weight are you pulling, and how much of the budget are you given?
Do you know how much the animation staff puts into those drawings and what they’re going through?
Are you saying what you’re saying with all of this in mind?

The main staff of a work should be people who newcomers look up to.
If they work hard and give their best, they’ll be able to become like their seniors.
It’s thoughts like this that cultivate talent for the next generation.
That’s why I’m not going to say that making a lot of money is a bad thing.

But… There’s a but.

What about the new animators, who can’t even properly support themselves, having to work next to equally green painters who are making more than the animation director?
What about the sound directors being paid 150,000 yen for 2 days of work?
What about the unnecessary sentori work that keeps increasing?
If you redid a budget so that you minimized waste and paid people for the work they do, there couldn’t be any way that you can’t find another 500,000 yen for inbetweening.

There are people who say things like “Well, budgets haven’t really changed in thirty years, so…” or “Raising just the inbetweening budget isn’t feasible…” I wish that these people who don’t know anything about the actual condition of the industry would stop pretending they did and shut their mouths.
That’s to say nothing of the people who say “It’s Tezuka’s fault!” These people aren’t just ignorant about the condition of the industry, what they’re saying is so stupid that it doesn’t even make sense!

I believe that directors, as the individuals who represent anime productions, ought to raise their voice and ask these questions.

The anime industry is by no means poor.
It’s the animators who are.

Industry insiders, please realize this!
Please have the courage to improve this situation!

I ought to back up and acknowledge that there are sound directors and scenario writers who are commendably good workers deserving of praise.

But even so, sound directors get paid a lot… at least, that’s what I think.
(I don’t know what to make of the fact that I’m saying this while having worked as a sound director…)

A better way to put it might be, “Budgets are clearly not balanced!!”… why don’t the producers at the studios who are associated with the AJA think this?

Do they really lack the imagination to see how leaving this situation as it is will lead to not being able to make works in the future?

The reason that work gets held up when it goes to the animation director is because of the rapid decrease in key animators who can do a proper job…
And the cause of this is the inattentiveness of production supervisors, who should be looking after the young animators who have no bargaining power.

I’m certain that this is the truth.

  1. tl note: I think this means “if it gets a dvd” []
  2. these are used during recording sessions []

Translation: Toranoana 2009 doujin stats

Sunday, April 11th, 2010

Source: the 2ch thread “Touhou is wasting the limited resources of doujin authors” via 2channel matome makuri via kransom’s twitter.

Toranoana – Number of doujin titles of major works added from 2009/1 to 2009/12:

Titles #Adult-Only %Adult-Only Series
5030 787 16% Touhou
735 128 17% Hatsune Miku (Vocaloid)
685 316 46% Nanoha
626 270 43% Idolm@ster
537 351 65% K-ON!
536 299 56% Haruhi
252 92 37% Strike Witches
251 177 71% Saki
243 201 83% Pretty Cure
239 212 89% Dragon Quest
227 163 72% To aru Majutsu no Index
222 171 77% Evangelion
197 133 68% Macross series
182 145 80% Love Plus
156 107 69% Monster Hunter
155 9 6% Maria-sama ga Miteru
153 35 23% Umineko no naku koro ni
153 44 29% Little busters!
150 118 79% Bakemonogatari
145 52 36% Ragnarok Online
139 118 85% Amagami
138 54 39% Fate/stay night
136 122 90% Hayate the Combat Butler
126 118 94% Dream C Club
110 103 94% Queen’s Blade
110 37 34% Lucky Star

It also says there were 154 (21%) female-oriented titles for Vocaloid, 265 (49%) for Haruhi, and 139 (70%) for Macross. Not sure why there’s nothing given for the rest – there’s also no “other” number, and obviously yaoi titles seem to go to other stores, so this isn’t really a complete picture of the otaku world.
I kind of want to know what’s in the other 7 Queen’s Blade titles…