(23/11/2013, 20:18)mirukage Escreveu: Acho que não era não.
Pelo que me lembro, aqueles que jogaram sempre consideraram LB um dos mais difíceis.
Há quem diga que esse é um dos motivos (menor e menos importante) da Kyoto Animation não aceitar o projeto nas investidas iniciais.
LB perto de Rewrite é Fácil.
Em LB as rotas eram diferentes mas ainda sim não divergiam tanto quanto em Rewrite, sem contar que em Rewrite tem um Rota inteira de monologo e como Rewrite é muito mais sobre o Mundo do que as personagens fica difícil contar apenas um rota como fizeram em Fate, as pessoas não entenderiam nada quando fizessem as duas ultimas Rotas , sem contar que Fate existe uma divergência muito grande já no começo da VN, Rewrite não, Rewrite tem uma commun Route longa (maior que LB!) e praticamente a mesma para todos as Heroínas seria um Saco ver 5 vezes a mesma coisa.
anime Rewrite só para quem gostou mesmo da obra...
pq para quem não gostou e anime for bem adaptado com montes de eps...
seria insuportável...
eu já não aguentava quando começava a falar dos problemas do mundo...
isso repetindo em quase todas as rotas... pior que na última rota (Terra) é mesma coisa...
já quem não jogou... bem não vai entender nada...
alías tem rotas que foge muito do plot principal que... bem deixa pra lá...
Citar:2.1What is a production committee? A production committee is a group of companies that have pooled financial resources together to produce an animated show. The way these committees are formed are through producers. For example, if the Dengeki Bunko light novel division of Ascii Media Works (a Kadokawa Group company) wants to make an anime adaptation of one of their light novels, a producer that’s experienced in anime production will contact their colleagues mentioning “we’re planning to adapt this novel into anime form” and solicit feedback from other companies. They’ll decide on the form of the committee and then determine main staff/animation studio (if not part of the committee) once everyone is on board. The committee is ranked based off of financial input into the production; higher ranks=higher financial interests.
2.2Why are production committees important? / When did they start? In the early 2000s, anime started to shift from the film/OVA/TV station produced format to the committee format as TV stations began to produce their own live-action shows instead of anime. This meant that the financial brunt of the show was from these companies instead of on the TV stations. Instead of shows recouping costs by advertising money, the shows began advertising for other goods (novels, video discs, manga, music, merchandise, etc). This led to fandoms checking out numbers as best they could for any way to see how shows performed (and thus these threads). Revenue from video disc sales go to the distributor and then back to the committee to help offset these costs of productions.
2.3Who is involved in production committees? You’ll see a variety of companies in different committees. Publishers tend to either lead the committee (if they have a video distributing arm like Kadokawa/Media Factory) or place second to a video distributor. As mentioned, the video distributor tends to be highest on the list as they get the most income from video disc sales, but this isn’t always the case. Often you may see a TV station listed at the top like Fuji Television, TV Tokyo, NTV, or TBS. Music companies like Flying Dog, Lantis, and avex are also listed here. Finally you may see some advertising companies like Dentsu or Soutsu listed. Other companies also include video game manufactures, towns, and there’s even a theatre listed in one in 2013!
2.3.1Are animation studios involved in production committees? Studios have been parts of committees. In fact we had 4 studios in 2013 lead their respective committees (KyoAni, Sunrise, Toei, and Gonzo). If a studio isn't part of the committee, they're just contracted to do the animation work and get paid from that (I imagine they could get royalty payments if the show is exceptionally successful, but I can't say for sure).
As for how they're selected, that's part of the pre-production process where the producers use their connections at the respective studios to see who would have time or who they want to use. For example, Genco has TONS of works that's been animated by JC Staff, so they tend to put a lot of works there, but it's not always the case as they gave SAO to Aniplex/A-1 Pictures. If the studio wants to invest in the show, this is where that decision is made and they put a producer on the team as well.
2.4How can I tell who’s involved in a show’s production committee? / Where are they found? The simplest ones tell you in the opening/ending credits. At the final moments of those credits, you’ll see “製作” (Production). This is where your committee is listed. Nice shows list the members, but some hide them under a name. For those shows, we look at who’s listed as producers and start from there in order. (ie. Pony Canyon’s producer would be listed first if they were the top company for that show’s committee). It takes time and some producers are hard to identify.
I’ve made a long spreadsheet detailing who’s involved in the anime we track on this forum. Sheet 1 is a simple “Here’s your committee by show” while Sheet 2 breaks down the shows each company was involved in. Access the spreadsheet here: 2013 Anime Production Committees
2.5How are sequels determined? There are many factors that go into deciding if a show will get a sequel. These relate to the original intention of the show. For example, if Kadokawa makes a series to promote a light novel title, and they feel there's still room for growth of the novels, a sequel can be greenlit. If the editorial board of the label feel the title has reached its peak and no additional seasons would raise enough additional sales of the novels, there's no reason to greenlight another season in favor of another title that would see growth of its sales. Aniplex and King Records are in charge of promoting their disc sales first and foremost, so titles led by them depend more on those than associated print material.
However, anime itself is not always merely a promotion. As noted in the spreadsheet, there are several series with a TV station at its helm. If they make an original show (or mostly original), then there may be additional seasons if ratings are high enough to justify the costs (eg. Log Horizon and Phi Brain being funded by NHK or Gatchaman Crowds from NTV). Thus the answer to "Is (blank) able to get a second season?" is nearly always "look at the committee and see if the first couple of companies got their investment back and see stabilization or growth possible with a second season."
