The last update of the Year of the Snake in the lunar calendar, as you can see, is also a pseudo-update.

In the upcoming Year of the Horse, Yuko wishes you good health!

After all, only when you are healthy can you have wealth, reputation, sister paper and the like!

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Once upon a time, late-night animation was considered a niche work, and even because of people's prejudice against otaku, it was difficult for this type of animation to reach the public's eye. However, with the excellent performance of late-night animation on the theatrical version in recent years, more and more people have begun to pay attention to these works, and the popularity of late-night movies has also risen. Regarding this phenomenon, some Japanese media recently invited anime critic Kiyoshi Tagan to interpret the hidden secrets. The following is the main text:

Released on October 26, 2013, "Drama - Madoka Magical Girl ☆ Magical Power "New Edition" Rebellious Story" has exceeded 2 billion yen at the box office, and has become a hot topic recently. This work is adapted from the late-night animation of the same name broadcast in 2011.,It tells the story after the end of the TV animation.。 The box office of the new theatrical version not only surpassed the theatrical version of "The Light Girl" (1.9 billion yen), which was released in December 2011, but also has not been released to this day, and the box office performance is likely to climb further. So, why has the theatrical version of the animation with late-night animation as the original work become so popular in recent years? Let's find out why.

In recent years, the theatrical version of late-night animation has continued to blow out in popularity beyond niche works. Last year alone, there were blockbuster films such as "Theatrical Version-Unheard of" that exceeded 1 billion yen at the box office. In addition, the box office of late-night theatrical versions such as "Theatrical Version - Gate of the Stone of Destiny - Déjà Vu in the Load Field" and "Theatrical Version - Catalogue of Magical Forbidden Books - The Miracle of Endymion" also exceeded 500 million yen. Late-night works are coming into people's eyes at a faster and faster pace. In the background, we can see that the environment and promotion strategies involving late-night animation are changing, and the reason for this phenomenon is no longer just the scope of one or two works.

First of all, the media format of viewing animation is changing dramatically. Nowadays, many live-action TV series have begun to use online distribution and other forms to meet the audience, but this has long been a trick played by the animation industry. Since several years ago, it has become common practice in the industry to distribute information on the Internet at the same time as the broadcast of animated works on TV, so that viewers can not only have multiple opportunities to watch the works, but also reduce the "broadcast difference" between large cities and local cities.

The form of online distribution played the role of "replaying" TV dramas in the Showa era. Works such as "Space Battleship Yamato" and "Mobile Suit Gundam", which have long been the pillars of the animation industry, did not achieve particularly outstanding ratings when they premiered. They all increased their popularity by constantly replaying, and eventually set off a craze among fans. Everyone also began to demand the production of the zuò theatrical version, which led to their current status.

The above-mentioned replay victory method has now been resurrected through the guò network distribution method. Nowadays, many animations will broadcast the previous TV animation on the Internet before the release of the theatrical version, so that even the "latecomers" who don't know about the work before can make up for the class in time and become a fan of "coming from behind". Network distribution is the "replay" of the 21st century.

That said, without a large number of people who are enthusiastic about promoting animation (so-called "evangelists"), it is unlikely that the "network rerun" will be very effective. These preachers use the Internet as a tool to disseminate information, and like salespeople, they spread the charm of anime to the general public, so as to attract new fans. Their existence is definitely not to be ignored. Of course, propaganda belongs to publicity, and the content of the work itself is the key to grasping the core.

The common denominator of popular works is that they are produced by experienced producers, and they have been supported by enthusiastic anime fans since their release. For example, the "Magical Girl Madoka ☆ Magic" series gathers many big names such as the director of Akiyuki Shinbo, the famous manga artist & character designer Mei Aoki, the veteran scripter Gen Kubuchi, and the king of anime music, Yuki Kajiura. And the director of "Unheard of Names" is also Nagai Ryuyuki, who has experience directing many popular works, and Okada's script also makes people have more expectations for the quality of the story.

In recent years, projects to collaborate with well-known manufacturers in other fields have been on the radar.

In the past, although many people often pursued some TV animation works at home, it was still very embarrassing to let them enjoy the animation in the movie theater in front of everyone. In case it is seen by relatives and friends, it is more likely that he will be put on the hat of a dead house and unable to turn over. And now, the risk of being considered an anime otaku by others still exists, but everyone is gradually tolerant of it.

As the younger generation grows up, there are now many "light nerds who have the same interest as other people who have a good interest in anime." Watching animation is no longer a shameful thing, but has become fashionable. As a result, the resistance to going to the cinema is becoming less popular for ordinary people with the idea of "wanting to see something interesting", and many young people are even using watching animated movies as a means of dating.

In addition, although the network delivery of "can be watched anytime, anywhere" can make it more convenient to watch animation, but at the same time, in a sense, it also reduces the fun of watching animation only once a week. On the other hand, the experience of "going to the cinema to watch the animation" is even more valuable.

In recent years, perhaps with the popularity of large LCD TVs over 40 inches, people have become interested in the "big picture" screen in movie theaters again. And the distributor of the work is also racking his brains in order to attract the audience, and the weekly change of attendance bonuses is one of the best gold-absorbing artifacts. Due to the preservation of the bonus, there are now many people who go to the cinema to watch it several times or even dozens of times, and when the theatrical version of the new work of "Madoka Magical Girl" is broadcast, there have been a large number of phenomena that only buy tickets to get the bonus and do not enter the theater to watch the film, which makes people laugh and cry.

In short, first, enthusiastic anime fans become preachers who are willing to promote the work, then through guò online messages to increase the audience's reach, and finally the "festival" format of the theatrical version to make the work reach its peak. The above is the reason why the theatrical version of late-night works has become popular in recent years. While we appreciate their success, we cannot ignore the hardships behind them. In the final analysis, only the spirit of serving guests wholeheartedly can make a work reach its peak.

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In fact, the last sentence is the real reason!