18
Jan
To find data, please use the Table of Contents

Schedule
Regarding when you should expect to see this site updated, I’ll follow roughly this schedule:

Tuesday, 3-4AM EST (UTC-4/5) – Preliminary DVD30/50 + BD20/20 ranking, new post. This is very consistent, except around the holidays when Oricon skips a week.

Thursday, night EST – Full weekly DVD100 + BD100 ranking, editing previous post (so no bump). This can take until Friday; it depends when the data is released. Sometimes it’s not available at all on Thursdays, occasionally it even takes until the weekend, but Thursday is most common. Obviously if the initial ful list doesn’t come out until Friday, this would happen Friday evening instead. I usually get to it after I get home from work, whichever day it is.

Weekend, any time – Whole set of rankings updated as appropriate (seasonal vol 1s, yearly averages, yearly per-volume, series quick view, BD boxes), at some point over the weekend when I have time. This will go in a new post, with a summary of links to everything I updated that day. Lately I’ve been doing this every two weeks instead of weekly, mostly due to being tired and lazy.

I will also do some unscheduled posts if I just want to talk about something I’ve observed and or find interesting or noteworthy.

Mid-year rankings tend to come out in late June or early July. Full yearly rankings come out late January. Monthly rankings come out near the end of each month and go in the ranking summary posts.

General Discussion
Also, since I don’t see any reason to set up a forum just for sales discussion, I think we can use this post as a catch-all for any sales-related comments you have that don’t fit in one of the specific posts.

Comments on daily rankings, comments on preorder rankings, general questions, that sort of thing.

1,161 Responses to “Posting Schedule and Open Discussion”

  1. dan says:

    Hi. I’m just wondering: what’s with BDs coming out with 4 episodes lately, is there a reason? Is this sort of a new standard? Or it’s always been and I failed to notice? Oh, and are they sold at a higher price?
    I’ve not been following BD releases very much lately, and thought it curious that Gabdro and Youjo Senki were released like that.
    Cheers!

    • something something says:

      While 2 episodes per volume is the standard for one cour shows, there’s always been occasional experimentation in increasing the number of episodes per disc (or, sometimes, lowering them… looking at you Mekakucity Actors). It may be increasing a little bit in the last couple years, but it’s a very, very slow shift. The large majority of shows still come out in 2-episode discs at ¥5000-7000 MSRP each.

      Of course, these meatier releases don’t really come with a lower total price anyway, at least not by much. A 4-episode disc generally costs twice what two 2-episode discs cost. In Gabdro’s case, it’s ¥13,000 for 4 episodes which is really the same as buying two ¥6500 discs. A 6-episode disc costs thrice as much and a full 12-episode cour set is about six times as much.

      • dan says:

        Hm, I see, interesting. I wonder series released in 4eps/BD experience less drop in sales (per volume) since there’s less volumes to drop between (and possibly waiting time to release full series). Might make for an interesting analysis if we can make a list of series released like this.
        If true, as they cost basically the same per episode, it could be a good strategy for publishers (less drops, less handling costs) and consumers (if there’s less waiting until final BD release). That is, if the increased price per BD doesn’t scare people off (was that the case with Youjo Senki and it’s overestimation, perhaps?).

        • something something says:

          Youjo Senki was actually underestimated by Stalker, but that’s due the way Stalker calculates estimates for items over ¥10,000 (see here for more details).

          I think it’s assumed that a higher price will indeed scare some buyers off, but the hope is that what you gain from the factors you mentioned makes up for it: less volume-on-volume sales attrition (on account of there being less volumes), less packaging and shipments, as well as less marketing. Whether the math works out will vary from show to show of course. It might be possible to do something with the data but I don’t track episode counts so clearly identifying shows of the same length but different volume counts would be a little tricky/partly manual.

          • AholePony says:

            There’s a potential downside to less volumes and quicker release of the entire series and that’s less, what I’ll call “relevance time”. Staying relevant and maintaining a high public profile can do wonders for merchandise sales.

            I’m not actually sure how much they spend advertising disk volume releases but I do know that, for example, Working!! had a commercial made to advertise the release of every volume, I assume those ran on TV? Do they heavily advertise separate volumes in the manga books/magazines? I don’t know anything about the advertising side of anime which seems like a major gap in my knowledge that I should try to fix lol!

            Anyway, we can assume advertising isn’t inexpensive so not all series would get the same treatment, but I’ve got to assume they do advertise shows after they’ve aired to keep the cash flowing, at least for the bigger hits. If anyone knows this stuff or has links to read I’d lover to see them or hear from you :)

            • something something says:

              Relevance time matters but I’m guessing it doesn’t have much of a relationship to disc release schedule for anime. By the time a couple discs are out, the only people who even notice more discs coming out are the people already buying them. Even I often forget shows exist unless I’m watching/buying them and I record them all in my spreadsheet. Disc releases are only going to be an event when a show is already very popular.

              I think relevance time requires not just additional disc releases of a show that’s already finished airing, but the production of legitimately new content. More manga, additions to a mobage, new CD releases, etc. Releasing discs for three additional months while doing nothing else with a franchise probably won’t result in much.

              All just guesses on my part though.

            • something something says:

              Oh and as for advertisements, my understanding is that late night DVD/BDs are rarely advertised on TV, except during other late night shows that nobody is watching. Committees often just advertise *their own* shows during late night slots, since it’s not like anyone is clamoring for 1AM ad space.

              You’d be more likely to see the adverts online, or like on the side of a shop in Akiba. Advertising for niche stuff like this is very limited because everyone who would ever possibly consider buying it is already well aware of it.

              • AholePony says:

                Makes sense. We only see “Now on BD/DVD!!!” ads here in the states for the really big stuff (Star Wars) most of the time, or for Disney/Pixars and IP like that. I figure it has to happen sometimes even with anime in Japan but it could be quite rare indeed. I also wonder where these Box sets like the Gun x Sword set are advertised to get the sales they do. That’s a series that’s long long past relevance but somehow they got 5k+ ppl to buy the box set. I’m guessing those late-night ad slots, circulars/emails from the likes of Animate, and a few other outlets must get the job done.

  2. Hahalollawl says:

    I don’t know if this has been discussed, but there seems to be controversy over the current anime production process what with NHK having done a recent special on the industry. I think many of us already knew the conditions were probably problematic, but now Shinji Takamatsu seems to have predicted a collapse in 5-10 years. I think he also mentioned late night anime depend on disc sales to make a profit, which I’m not so sure about. Anyways it does seem like the current system may be unsustainable. I don’t know how they solve it (can streaming/websites take on a more important role?), but if it does implode hopefully there isn’t too much collateral damage.

    • something something says:

      The industry sends very mixed signals about the importance of disc sales, which I think is a testament to the fact that there’s no one way to measure the success of an anime. For every news story like Drrrx2 being confirmed profitable despite mediocre disc sales (which I don’t think should be shocking anyway), there’s a news story of some industry insider talking about disc sales as if they’re life or death.

      That’s why while I like to stress that disc sales are only important to a point, I also don’t go in the total opposite direction of “lol disc sales never matter at all” that’s become popular with some segments of fandom lately. Discs clearly matter to the industry people making the constant stream of comments about how important they are!

      I’d say the truth lies somewhere in between, as usual, except that it’s more like there are many different truths, because it depends who you’re asking and what their specific slice of the pie is.

      As for any impending collapse, I think that would have less to do with profitability (the anime industry is doing well there as a whole, as I think that NHK segment mentioned) than with manpower and unequal distribution of those profits. Driving studios and their animators into the ground and not sharing the windfall with them is just shitty. A market where studios can only thrive by working themselves to death on as many projects as possible is just shitty.

      Granted in 10 years CG will have already killed the anime industry and be wearing its rotting skin in a grisly display of artistic violence, so the whole thing is kind of moot for me. Anime is on its way out even if studios don’t all collapse.

      • AholePony says:

        One other thing to keep in mind is that these are the creators and if the anime industry is at all like the US media industry, you’d be surprised at how little the creatives know about the business side of their industry. They are privy to more details than many, but they aren’t businessmen, they don’t talk to the bean counters in the very large corporations funding the productions. I’m sure the current climate isn’t sustainable but capitalistic systems either crash or die very very slowly. 5-10 years is way too short of a time scale unless EVERY animator in the industry is 60+ years old or 18-25 years old and at an age where you’re likely to give up on your dream. But we know that’s not the case. Human nature plays into these things, once you’ve been in an industry for 10+ years (any animator aged ~28-50+) you don’t just quit one day and go work at a convenience store. You’ve already put up with the “abuse” of the system and just stick it out.

        The only way anime dies in as little as 5-10 years is a crash, and after the 2006 crash I don’t think the industry is built on quite as frail a house of cards as it was back then. It would take something like the Chinese govt. declaring anime illegal and the overnight disappearance of those funds for streaming rights to crash the current system. Or, maybe, all faith in the committee system dissolving but it’s lasted this long and SOMEONE is making money. If anything I do foresee a case where the talent pool shrinks enough that they just plain cannot make as many series per season and studios actually start turning down work…… but then some head of a big studio will create his own small studio, hire a bunch of underpaid animators and take the jobs no one else wants. Rinse. Repeat.

        This is a creative industry, it is not at all different than Hollywood. People have no idea how many thousands of waiters and waitresses live in LA and NY that get paid “only” a few thousand $ a year because they scored a role in a TV commercial saying 2 words. Animators are almost lucky in that in the current market they can probably count on steady work. The hours are atrocious but that’s hardly anime’s fault, that’s a Japanese cultural issue more than anything. American dub actors aren’t full time VA’s, they likely have more than one job. Painters and writers only make $ when something sells or they get a book deal from a publisher. I’m not belittling the artist’s plight, but I think the western anime community keeps making a mountain out of a molehill with this issue.

        • something something says:

          Most of the commentary on the poor working conditions isn’t coming out of the west, though, it’s from within Japan. So I don’t think the comments on working conditions are a mountain out of a molehill in this case.

          Unless you mean the idea of an impending industry collapse is exaggerated, in which case, maybe. The only reason I think there’s some validity to it is that the number of shows made per year is at a historic high, but it’s not like anime is any easier to make. Maybe the current level is right on the point of sustainability (albeit under bad working conditions). Maybe the industry will stop here, and it won’t be a concern. Will the industry keep pushing harder? It’s all about finding that sweet spot and not pushing too far.

          • AholePony says:

            Yes I meant the impending collapse. As to the worker issues; I’m sure you could get the same stories if you were into collecting sneakers and they asked the Indonesian workers that make them how they feel about their jobs. When you look at everything with the macro lens of fandom it’s easy to read too far into it. I’m not saying it’s “fine” that the animators get paid little for a lot of effort but it kind of comes with the territory working in a creative field and it’s not likely to change, ever. It’s not a cut and dry scenario, they ARE being abused by corporate juggernauts, just like I am at my soul-crushing job, “welcome to the club” :-(

            • something something says:

              I really hope we can raise the bar of expectations higher than “Indonesian sneaker factory workers” when we’re talking about a huge entertainment industry in one of the richest countries in the world.

              And the rates animators make (can’t even say “salaries” because so few are even salaried) really are particularly bad. We’re talking, like, what they could make working at a convenience store. There’s been plenty of reports about it, and we’re talking the equivalent of maybe $1000 USD a month, and in a country as expensive as Japan. *And* with most studios being located in and around Tokyo, one of the most expensive cities. That is really dire, not “just another underpaid job”.

              But the other reason we focus on animators isn’t because they’ve got it “the absolute worst ever”, it’s because we’re fans of this medium, and therefore it matters to us. If others have it worse, that shouldn’t shouldn’t detract from feeling passionate about the issue.

              (And as an aside “everyone has it bad, suck it up” is, while an understandable expression of disappointment, also just the sort of attitude those corporate juggernauts want to see. It’s a great way to hold back workers’ rights.)

              • AholePony says:

                Oh for sure, not to mention that animating is a HIGHLY specialized skillset that takes a crap load more training than teaching someone to press a button on a CNC machine in a factory. I’m just old and wary enough to have given up hope that any change in the worker-corporation relationship we have today will improve significantly.

  3. Flushme says:

    This might not be a good place to ask, but does someone have a complete list of Symphogear CD sales so far (season 1-3)?

    • something something says:

      I usually like to link http://anisonsinger.blogspot.hk/ but they go by artist, not series.

      So you may want to use this site though you’ll have to add it up manually and probably search for the OP/EDs separately.

      • Flushme says:

        Thanks. It was quite the adventure, but I think I’ve found what I was looking for. Seems like contrary to the BD sales CDs for S3 sold less than the ones for S2. No idea if I was looking at final data though.

        • something something says:

          I’m not sure why it doesn’t come up in search, but apparently anisonsinger *does* have a Symphogear page. I have no idea how to actually get to it besides clicking through that image of the Hibiki AXZ charasong single cover on the homepage tho: http://anisonsinger.blogspot.jp/2013/09/blog-post_9397.html.

          Senki Zesshou Symphogear
          • 6 releases
          • 79,505 OP
          • 9,041 ED
          • 75,954 Charasong
          • 164,500 total unit sales
          • ¥198,304,100 in revenue

          Senki Zesshou Symphogear G
          • 10 releases
          • 81,793 OP
          • 15,445 ED
          • 160,234 Charasong
          • 257,472 total unit sales
          • ¥290,697,700 in revenue

          Senki Zesshou Symphogear GX
          • 10 releases
          • 56,827 OP
          • 14,390 ED
          • 142,876 Charasong
          • 214,093 total unit sales
          • ¥261,722,200 in revenue

          So yeah, GX was down on G, though still incredibly strong. And a large chunk of that was just Exterminate being a less popular single for Mizuki Nana (a shame, it’s my favorite of the OPs). There are 8 CDs lined up for AXZ right now, presumably with the 7th and 8th charasong singles being withheld for now since it might be characters revealed later.

          • Flushme says:

            Thanks for that at well. I’m eager to see how AXZ will perform. The official site however only lists 6 CDs so far. Didn’t they list the other 2 yet or might your list include the OP and ED? Usually they announced “secret” character CDs with a “????”.

            • something something says:

              When I say 10, that includes the OP/ED yes.

              • Flushme says:

                You said 8 though.

                • something something says:

                  Oh I didn’t see what bit you were replying to. Yes, when I say 8 that’s based on the official site which lists 6 charasong CDs and then the OP/ED further down the page. Then I’m just assuming there will be two more to match G and GX but they may skip some this time.

  4. something something says:

    Potentially of interest: https://curiouscat.me/somekindofthing/post/174496772

    Someone asked if Eromanga-sensei could average 10k, so I took a look at what v1wk1 and v1 total sales looked like for shows that ended up averaging 10k.

    In short, if you have a v1wk1 of between 9k and 10k, you have a bit less than a one in two chance to average 10k. These days it’s probably less than that, since so many shows’ v1s are bumped by event tickets. Of course, that also depends on how high the v1 ends up going. If that 9k wk1 long tails out into a 15k v1, your odds are much better than if it stops at like 10.5k.

    Anyway there’s some numbers there for those interested about the rough relationship between v1 sales and overall 10k average chances.

  5. Flushme says:

    I just noticed there’s a lot of Girls und Panzer entries back in the top seller lists on Amazon Japan. Any possible reason for this?

    • something something says:

      Only one I see in the top 200 at the moment is the Cinema City Concert BD. Which others were you looking at?

    • JTaicho says:

      Prime Day. They are on special sale.

      • something something says:

        Only a bit more of a discount than usual, but I guess the visibility of them being in a sale raised awareness enough. This also seems to partially explain the Symphogear BD box going crazy high, though in that case it looks like it’s also got a new shipment coming in on July 22 (and of course AXZ started).

        • Flushme says:

          Speaking of BD boxes – is there a thumb of rule to when they’re released? In case of Symphogear the box was released about 5 years after the season finished airing, which feels pretty long.

          • something something says:

            It feels like they’ve been speeding up slightly in recent years, but no there’s no real way to predict them. They tend to be heavily influenced by factors beyond just how long it’s been since the show ended:

            • Cross-marketing with a new season, film, live action adaptation, game, etc. is a major catalyst.
            • A big franchise anniversary can be a reason too, especially since it’ll probably come out alongside other merchandise.
            • We also often see a small flood of really low-tier shows getting BD boxes at the end of a fiscal quarter as publishers toss a bunch of releases out to bump revenues a bit, even if they individually sell very little.
            • And it can depend on the publisher’s habits. Bandai Visual for example seems oddly reticent about doing BD boxes, even leaving huge titles like Garupan and Love Live without boxes (and waiting five years for Tiger&Bunny). They opted instead to keep the singles of those in stock via re-issues, and it was particularly egregious in Garupan’s case.

            So while publishers generally don’t want to rush a BD box in less than a year, there’s no real way of telling how long it’ll take, and if one will even come out.

            • Flushme says:

              Thanks for the very detailed answer.
              So is there any risque involved due to production cost, or do some publishers simply refuse to sell them at the lower price?

              • something something says:

                They’ve gotta be almost pure profit, though yeah they have to at least cover printing/shipping/marketing costs. anything beyond that is gravy though.

                I suppose not all titles will manage that though, and the time you spend preparing one release is time you didn’t spend on another, so for most shows it’s still not really worth it. Japan also doesn’t have the box-obsessed market the US for example does, so most of the people who are going to buy a show already bought the singles, generally.

  6. Flushme says:

    I was looking here and see at least 8 G&P entries in the top 30: https://www.amazon.co.jp/gp/bestsellers/dvd/562020/ref=pd_zg_hrsr_d_3_2_last
    But maybe I was looking at a wrong page?

    • something something says:

      Ah, that’s the animation-only ranking but yeah they’re in the top 100 even among all DVD/BDs too. Wonder why Stalker isn’t picking them up.

      Ultimatemegax noted that there was a Garupan event this weekend but it’d still be odd for it to increase sales in any noticeable way. Especially for two year old discs.

      • Flushme says:

        Sorry, forgot the hit reply earlier.

        Well. the franchise sometimes does the craziest things, so who knows? Does Stalker even track things after their release date?

  7. something something says:

    Posted this over at the WOKJ forums but bears repeating here since I missed a few titles when looking into Kimi no Na wa’s place in the historical rankings:

    ============

    “pookpooi wrote:
    From Kogyotsushin, look like Your Name finally end its theatre run after one full year at 25.03 billion yen. It is still destroying home-video record, however..”

    Well, I wouldn’t say “destroying records” but is is in the top 10 best-selling anime discs ever. And we’re almost definitely going to be able to say it’s the best-selling non-Ghibli anime disc of all time, which is a damned impressive record.

    It needs a bit over 40k more to pass Evangelion 2.22 and Majo no Takkyuubin which should put it in 7th. Seems doable to me.

    Since some of these are quite old in terms of home video sales tracking (i.e. pre-Oricon) the numbers are rough but:

    01. Sen to Chihiro no Kamikakushi [4.2 million]
    02. Tonari no Totoro [1.9 million]
    03. Mononoke-hime [1.5 million]
    04. Howl no Ugoku Shiro [1.4 million]
    05. Tenkuu no Shiro Laputa [1.1 million]
    06. Kaze no Tani no Naussica [987 thousand]
    07. Gake no Ue no Ponyo [945 thousand]
    08. Evangelion 2.22 [839 thousand]
    09. Majo no Takkyuubin [836 thousand]
    10. Kimi no Na wa [797,840 week 5, when the full data for the week is out the LE BDs should also rank and get it right around 800 thousand]

    One important caveat: all of the above numbers include re-releases. Typically we compare first release to first release and all, but for older releases, disc (or uh, tape back in the day) sales weren’t as much of a thing. A lot of the Ghibli films racked up a ton of sales in early/mid 00s DVD re-releases. Almost 800k of Laputa’s known total is from a 2002 DVD for example.

    So it becomes largely meaningless to compare sales at this level without including re-releases. Besides there’s zero reason to expect KnNw to be as back-loaded as those titles so it won’t throw things off to much. I guarantee it doesn’t have, like, another 500k sitting in the tank for future re-releases. Especially for a film more aimed at teens than kids.

    Since I don’t think I’ve missed anything I guess we can say KnNw is #10, and has a very realistic shot of taking #8, though Ponyo looks out of reach unless KnNw attains long-term classic status and has a big re-release years from now or something.

    As for non-anime discs, I think there’s on a tiny handful of western CG animated films ahead of it: Frozen, Nemo, Monsters Inc… maybe a few others, but since I have no interest in western animation and most definitely not in CG, I’m not as knowledgeable about those. I also have no idea if any live action films or concert discs have ever put up disc numbers to challenge the top anime and CG titles. Certainly I don’t think there would be many.

    [Last caveat: These are of course the numbers reported by video sales tracking companies, which are never the full number. KnNw alone is known to have shipped 1.2 million, though whether they’ve all sold through yet or not, I don’t know. But it’s the best/only way to compare that we have.]

    ============

  8. Flushme says:

    So Symphogear Live 2018 was announced and AXZ immediately takes the top spots on Amazon. Quite an interesting insight on how important the concerts are for the disc sales, even though the franchise doesn’t focus as much on that as idol themed shows.

    • something something says:

      Symphogear is pretty unusual among non-idol largely-male-targeted series in that its event tickets make such a big difference. Obviously that’s got a lot to do with Mizuki Nana, but it’s really done an impressive job being a musical powerhouse for a non-music anime with female seiyuu.

  9. adrenaline says:

    Question. Does anyone have a decent method of finding out what blu-rays that have first or intial pressing bonus only cases actually look like? I few series I have wanted to purchase have these “first pressing only” detail bonuses, and they damn well near list the entire blu-ray package as first pressing exclusive. So does it come in just a standard blu-ray disc package in these scenarios? I search these series on Yahoo Japan Auctions, Little Witch Academia and Hibike Euphonium, and cant find a trace of any other versions besides what is listed on nearly every single website. This “first pressing”

    • something something says:

      Most shows only have “Limited Edition” releases. They still call it an LE even when there’s no corresponding RE. It’s extremely rare for standard manufacturer bonuses (so, excluding retailer-exclusive extras) to actually be limited in any way. So unless you’re going for a Gamers or Animate or Softmap or whatever exclusive (in which case you need to order through a proxy as they wont ship overseas), as long as you buy the regular release listed on every retailer, you’ll get all the normal bonuses. The general rule of thumb is “just buy the most expensive one”, in the fairly uncommon case where there’s even more than one option to choose from.

      When it comes to buying used at auction, however, all bets are off. No way to know what’s being sold unless the listing clearly states it.

  10. something something says:

    Anyone have any idea what happened to the Chinese forum where the weeklies usually get posted? My usual search approach (go here then click the white button) returns completely different results now, with no sign of the threads I’m used to.

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