I previously commented on the first chapter of the theatrical release version of the "Princess Code" that can be seen best, the theatrical version of this work will be the sequel to the TV version, which will be divided into 6 chapters and released separately, but after watching the first chapter, I can be said to be very disappointed, because the scale of the production is not sorry for the specifications of the theater release, the story is not as gripping as the TV animation, so the whole OVA level special chapter, named "theater version", what is the intention?
This wave of operations is not the first time to see, the "Final Chapter" of "The Girl and the Chariot" is also engaged in this way, separating multiple chapters, rather than "releasing" in the form of a complete theatrical version. Of course, different works are similar in form but of different quality, and "The Girl and the Chariot" may be of good quality, but the fullness of the content is still lamentable. After all, an episode is only 50 minutes long, even if it is stuffed with 6 films, it is difficult to make people enjoy.
As we all know, Japanese animation has specifications, and the quality of presentation is often different according to different specifications. TV animation is the bottom layer, with a duration of about 25 minutes, generally weekly, and there are also long-form TV animations of 45 minutes per month, such as "Knife Language". TV animation is often the most common type of quality because of the update cycle, construction period, and funding restrictions, but relatively speaking, the story content relies on the serialization of multiple episodes, the rhythm can be controlled slower, and the details are often richer than the theatrical version... There are also more Easter eggs hidden in TV animations;
The second category is OVA animation, there are two types of OVA animation, one is original animation from beginning to end, this type of original animation tends to have high production quality, released in the form of a CD-ROM, rather than broadcast on TELEVISION. This kind of animation can be said to be made for animation fans, the crowd is very targeted, and often attracts fixed people with high-quality production; there is also a category of original episodes other than adaptation animation, this kind of production quality may not be outstanding, but the content is the original part of the manga, novel, and game.
The third category is animated films, also known as theatrical versions. The general duration is 1 hour and 30 minutes, which is the highest production standard of Japanese animation, often with sufficient funds and sufficient cycles, attracting all parties to complete, whether it is the picture, music, dubbing and publicity aspects will be better than TV animation.
These three different production specifications often have clear boundaries, and few people will directly compare the quality of TV animation with the theatrical version, because the force of investment is fundamentally different.
But now, the shameful part of the Japanese animation industry is that the content that does not reach the production specifications of the theatrical version is forcibly put on the cinema for broadcast, which is called the "theater screening version".
One of the things that left me speechless was Magical Girl Ilia Carnival. This kind of animation is the second type of OVA animation I said, which used to be placed in the Blu-ray of TV animation as a bonus... As a result, it was stuffed with boring content for up to 1 hour, and then it was broadcast in the cinema. If I had gone to Japan to see this, and then been thundered by its contents, I am afraid that I would have been able to spit blood on Ilia's body...
My favorite "Re: Life in Another World from Scratch" has also done this. There are also 2 whole films, as an OVA, I think these two are qualified, but in general, the quality is still difficult to support the specifications of the release. Especially the first "Snow Memories", there is no main story, it is obviously the content of welfare, and the essence of "Magical Girl Ilia Carnival" is the same...
It can only be said that Kadokawa is really "evil and evil".
So you have to ask, is the essence of TV animation and theatrical animation the difference in quality? No. Is the difference in revenue channels. TV animation itself does not make money, mainly for the original novels, comics, peripheral advertising, because in this era few people will spend a lot of money to buy animation CDs to see, but also by selling broadcast rights to return the book. However, if it is released, one can make money at the box office, and the other can more directly promote a lot of peripheral publicity offline to attract fans. Japanese people like to engage in "movie viewing bonuses", that is, only if you go to the offline cinema to watch, you can get the special peripherals, such as going to the cinema to see the theater version, send you official IF novels, etc., these peripherals are limited time limits, you go to see to get it, if the average person wants, and finally wait to buy from scalpers at a high price, anyway, these limited peripherals are the more fried the higher the rhythm.
That is to say, an OVA, if packaged in the form of a theatrical screening, the official can unlock more ways to attract Azai in business, and the positive significance of this gameplay itself to enhance the popularity and commercial value of the work is much higher than the inclusion of an OVA content on the CD... Therefore, these copyright owners will stop at nothing to add oil and vinegar to the original 25-minute OVA content into 1 hour of content and then find a way to release it... Make more money...
In this way, the fullness is the wallet of the copyright owner, and A house can also be described as a typical example of "dead house good deception". I remember very clearly that because of the release of "Snow Memories" without any main plot, Emilia's popularity became the first in NEWTYPE magazine at that time. Isn't that unusual? Emilia's popularity surpasses Rem!' At that time, it was the middle process of the second season that had not yet come out, and this short-term popularity explosion, not because of anything else, but because of the release of the intimate content of the OVA and Amelia, the Rem in Aya's hand was not fragrant...
It can be seen that the Japanese animation copyright owner's grasp of the Psychology of the Japanese Azai can be described as very authentic, so there is this kind of commercial method of the next game.
But behind this can also see the helplessness of the Japanese animation industry. The real high-quality theatrical version, with more investment, long cycle, and greater risk, it is better to choose this form of "segmented OVA" in exchange for a greater return with a small amount of investment. The success and praise of "Magical Girl Ilia Carnival" can also be seen that the dead house is really good to deceive... Ilia is just farting all incense... yes...... This seems to be true.
But behind the sacrifice is the expectation of those who really pursue high-quality animation.
I don't know if Japanese anime will be finished, but if you have been so eager to engage in any segmented OVA release, this is the rhythm of eating jujube pills.