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May

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Full list. 176 DVD threshold, 223 BD.

2017 05/01 – 05/07 Anime DVD List

Anime Rank All Rank Last Rank Week Sales Total Sales #Wks Title
1 7 4 2,471 15,241 2 Yuuri!!! on Ice v5
4 20 2 1,326 17,437 2 Granblue Fantasy The Animation v1
8 28 791 791 1 ONE PIECE 18th Season Zou-hen v5
11 43 30 499 1,933 2 Bungou Stray Dogs Season 2 v5 (v11)
12 49 88 473 94,198 147 Tonari no Totoro (2014 re-release)
14 96 289 6,249 38 Doraemon: Nobita no Himitsu Dougu Museum (re-release)
15 97 19 285 2,744 2 Gintama. v1
16 98 100 284 2,079 3 Monster Strike The Movie: Hajimari no Basho e
17 260 260 1 Dream Festival! v6
18 258 10,496 24 Soreike! Anpanman: Omocha no Hoshi no Nanda to Runda
19 226 4,330 28 Doraemon: Nobita no Kiseki no Shima – Animal Adventure (re-release)
20 225 19,164 26 Meitantei Conan: Junkoku no Nightnmare
22 27 210 16,613 6 Yuuri!!! on Ice v4
23 202 42,093 145 Majo no Takkyuubin (2014 re-release)
24 195 4,004 27 Doraemon: Nobita no Ningyo Daikaisen (re-release)
25 191 10,294 58 Doraemon Movie: Nobita no Kyouryuu 2006 (re-release)
26 181 37,156 128 Soreike! Anpanman Pikapika Collection Anpanman anjou/Anpanman to Baikinman
27 181 3,623 24 Doraemon Movie 31: Shin Nobita to Tetsujin Heidan – Habatake Tenshi-tachi (re-release)
29 55 179 963 2 Kono Subarashii Sekai ni Shukufuku wo! 2 v2
30 176 7,328 7 Uchuu Senkan Yamato 2202 v1

Other releases (concerts etc)
11 1,899 1,899 1 D.A.T Live Tour 2016: Sweet Shake Suite
13 1,784 1,784 1 Real Takarasagashi: Kazema kara no Chousen in Odahara
29 787 8,088 2 Touken Ranbu: Shinken Ranbu Matsuri 2016 (Musical)
35 580 5,022 2 Kuroshitsuji: Noah's Ark Circus (Musical)
45 18 492 3,205 2 Seiyuu DVD Kikaku: Jinrou Battle – Jinrou vs Eiyuu
53 29 460 1,897 2 Eguchi Takuya no Oretachi Datte Motto Iyasaretai! v2
189 2,830 3 LiVE is Smile Always -Never Ending Glory- at Yokohama Arena: The Moon
184 2,720 3 LiVE is Smile Always -Never Ending Glory- at Yokohama Arena: The Sun

2017 05/01 – 05/07 Anime BD List

Anime Rank All Rank Last Rank Week Sales Total Sales #Wks Title
1 5 2 6,022 38,923 2 Yuuri!!! on Ice v5
3 9 3 1,618 27,381 2 Granblue Fantasy The Animation v1
4 12 8 1,279 8,118 2 Kono Subarashii Sekai ni Shukufuku wo! 2 v2
7 18 928 928 1 Seiren v2
8 22 747 747 1 Flip Flappers v5
11 34 19 592 4,793 2 Brave Witches v3
14 40 517 517 1 Dream Festival! v6
15 42 19 496 1,948 2 Bungou Stray Dogs Season 2 v5 (v11)
16 44 476 476 1 Occultic;Nine v6
18 49 25 442 2,798 2 Trinity Seven: Yuukyuu Toshokan to Rekinjutsu Shoujo
19 53 13 411 5,519 2 Jojo no Kimyou na Bouken Diamond wa Kudakenai v11
20 54 76 410 41,474 6 Yuuri!!! on Ice v4
60 10 358 6,204 2 Youjo Senki v1
74 104 294 43,214 11 Yuuri!!! On Ice v3
75 124 284 19,827 7 Uchuu Senkan Yamato 2202 v1
79 22 274 3,248 2 Gabriel Dropout v2
88 120 244 46,979 15 Yuuri!!! On Ice v2
93 107 235 64,109 7 Love Live! Sunshine!! v7

Other releases (concerts etc)
30 651 4,909 2 Kuroshitsuji: Noah's Ark Circus (Musical)
24 703 9,526 2 Touken Ranbu: Shinken Ranbu Matsuri 2016 (Musical)
66 26 325 2,630 2 AD-LIVE 2016 v6
90 88 239 5,923 3 LiVE is Smile Always -Never Ending Glory- at Yokohama Arena: The Moon
92 90 237 5,731 3 LiVE is Smile Always -Never Ending Glory- at Yokohama Arena: The Sun

 

Spring update:
Granblue v1 adds 1618/1326, total 44,818. Feels a little low for a wk2 but I guess people who wanted the code just preordered.

Winter update:
Seiren v2 sells 928 BDs, DVDs do not rank.

Konosuba s2 v2 adds 1279/179, total 9,081. A much better wk2 than s1v2, which only added 683. It’s still 900 behind s1v2 at this point but that’s a much smaller gap than last week. Now to bounce back again, while 10k still looks like a longer shot than after v1, it’s a little more plausible now.

Youjo Senki v1 adds 358 BDs, total 7,038. That’s a rather small wk2, but it makes it to 7k at least.

Gintama. v1 adds 285 DVDs, total 5,210.

 
Past seasons:
DreamFes v6, final volume, sells 517/260, total 777. Series average: 788.

Flip Flappers v5 sells 747 BDs, DVDs do not rank.

Occultic;Nine v6, final volume, sells 476 BDs, DVDs do not rank. Series average: 791.

YOI v2 adds 244 BDs, total 66,960 in wk15, meaning it added 498 in wks13-14.
v3 adds 294 BDs, total 60,386 in wk11, meaning it added 374 in wk 10. That’s three volumes over 60k now.
v4 adds 410/210, total 58,087.
v5 adds 6022/2471, total 54,164. Definitely keeping up with those wk2s, not just the wk1s.
Average sits at 62,666 right now and v5 obviously has a few thousand more left in it. v6 isn’t even going to have to try all that hard to maintain the 60k average. The chances of topping Nisemonogatari and taking #6 since 2000 are looking increasingly good.

LL Sunshine v7, final volume, adds 235, total 64,109 in wk7, meaning it added 354 in wk6. Series average: 54,319.

Jojo pt4 v11 adds 411 BDs, total 6,698.

Brave Witches v3 adds 592 BDs, total 5,232.

Stray Dogs s2 v5 adds 496/499, total 3,881.

Gabdro v2 adds 274 BDs, total 3,686. Only 4.3% down on v1 despite v1’s artbox and OVA. Decent.

 
OVAs, Movies, Boxsets etc:
Trinity Seven Movie adds 442 BDs, total 3,313.

 

Upcoming Releases for 2017 05/08 – 05/14
2017/05/10 Ao no Exorcist: Kyoto Fujouou-hen v3
2017/05/10 Grisaia no Rakuen BD Box
2017/05/10 Kikoukai Galient BD Box
2017/05/10 Mamotte Shugogetten! BD Box
2017/05/10 Minami Kamakura Koukou Joshi Jitensha-bu v2
2017/05/10 Naruto Shippuuden: Naruto to Sasuke no Shou v2
2017/05/10 Otome Youkai Zakuro (stage play)
2017/05/10 Saiyuuki Kagekiden (stage play)
2017/05/10 Uta no Prince-sama Maji Love Legend Star v5

26 Responses to “2017 05/01 – 05/07 Weekly Sales List”

  1. vinnipuh says:

    hi there. i have a question. with crunchyroll breaking 1 million subscribers and with amazon strike, netflix etc. offering anime, how much are these sales still important in terms of generating income? roughly 10 years ago we had the manabi line, which was inaccurate even for that time, but it at least gave us a rough idea of the break even point. with all the new income the anime industry is receiving and with the chinese anime market growing how much has the break even line roughly shifted? where do you reckon is now?

    p.s. love your work. keep at it!

    • something something says:

      Regarding the Manabi Lines and the concept of breaking even, I’ll recommend a comment I made a few years ago on the topic: http://www.someanithing.com/2622/comment-page-2#comment-47221.

      I link that not to belabor my vendetta against the Manabi Line but because a lot of the reasons why the Manabi Line is not helpful apply today too. For example, the point about Oricon not representing all sales is really important, as is the fact that its coverage quality changes over time – and we can’t actually be 100% sure if it’s in a good or bad direction (presumably good, but who knows!). In essence, this means that we never actually even knew what the Manabi Line truly was, were it even a thing that existed in a meaningful sense.

      The big thing I’d add, which I did not really get into in that comment, is the nature of production committees. I’ve talked about them a lot here but I recommend Utlimatemegax’s primer for a nice consolidated introduction. The comments section is helpful for clarifying questions too.

      Anime does not have “a break even point”, it has “as many break even points as there are investors”. If there are 8 companies on a production committee, you could easily have a scenario where 4 broke even and 4 did not. Or where 1 did and 7 did not. That’s because they’re all trying to get somewhat different things out of the show. Aniplex wants to sell BDs, Lantis wants to push music CDs, Cygames wants you to play their mobage, Crunchyroll or Niconico want you to sub to their service, Houbunsha wants to print more manga, Good Smile Company wants to sell figures, Fuji wants you to watch their TV channel, Animate wants you to buy stuff at their retail locations, other companies want to secure licensing deals, local tourism boards want fans to visit and drop tourism money into the local economy, and on and on and on and on.

      Depending on who funds a show, any combination of these and maybe more besides will be involved. And each will have its own goals and revenue streams, which may or may not be shared with other committee members to varying degrees.

      So “break even” is a wildly complicated and nuanced concept that requires knowing far more about a show than its DVD or BD sales. Disc sales are fun and interesting and a great gateway into learning more about the anime business and how it’s produced. Everything I now know about how the industry works started because I got interested in disc sales, uh, 8 years ago now I guess? But disc sales have got some pretty severe limits in the conclusions we can draw from them.

      • vinnipuh says:

        cool. thx for the links

        • something something says:

          Oh I also realized that I never quite answered the basic question: Are disc sales less important now?

          I think the answer to that is “yes”, to an extent. But so long as production committees are led by video publishers (as most of them are), they definitely still matter.

          A decline in physical media sales may mean a decline in investment from traditional video publishers. That requires other companies to foot the bill in their place. And we have seen examples of this, like Cygames (the mobile game company) funding more Shingeki no Bahamut despite its mediocre disc sales. Ultimatemegax pointed out a recent interesting example in Minami Kamakura Koukou Joshi Jitensha-bu, which didn’t even have its video publisher on the committee at all. Instead, the committee was made up primarily of streaming companies in Japan, Singapore, the US, and Taiwan. (And given how awful its disc sales were, probably a good idea for no video publishers to fund it… not that I’m expecting it was exactly a hit on streaming sites either of course.)

          That’s far, far, far from the norm, and even today video publishers still dominate late night anime committees. But I’d expect to see other committees that look like Minakama’s show up in the future.

  2. Yaoi-Senpai says:

    YES!! YOI sold 54k for second week. That’s awesome.
    Vol.4 is still selling, I’m melting right now.

  3. AnimePhoenix says:

    Again, I don’t care if I sound like a broken record, but I’m so glad to see that amazing consistency for YOI.

  4. Ayumi says:

    Another yay for YOI. It will definitely average over 60k to become 2016’s best selling title.

  5. PaladinAlchemist says:

    I’ll add to the YOI celebration train. So happy to see it selling consistently at such super high numbers!

  6. Cyssa says:

    Happy to see YOI doing so well, again! It’s great that vol 4 is still selling a little more too. I have been thinking if 61k average is possible or it’s too soon to say it.

  7. Anonymous says:

    I take it that the raffle ticket window for Love Live Sunshine is now over?

    • something something says:

      First one is. Second one ends on 5/28. If there’s any further boost it’ll be near the end fo it, but probably won’t be a huge one. Or at least, won’t last for weeks on end like before.

  8. Blue mouser says:

    Go go go Yuri on Ice!!!

  9. Davv says:

    Yuri On Ice: Is its volume-to-volume consistency unusual in a high seller?
    Granblue: In light of the abundant evidence that codes, events and other bonuses move discs, why doesn’t every series follow Granblue’s method of packaging them into every volume?

    • something something says:

      Regarding YOI’s consistency: Consistency is a little complicated to measure when event tickets are involved. But I think one thing that’s contributing to YOI’s consistency is that, as has become clear, its event ticket boost actually wasn’t very large, assuming we define event ticket boost as the gap between a ticket volume and the next non-ticket volume.

      I don’t have a comprehensive list of what volumes of anime have event tickets or not, and things other than event tickets can cause big boosts, so saying what’s “normal” is difficult. I think YOI’s consistency stands out because it’s being compared to Love Live and Osomatsu-san, which had much, much larger relative boosts (and hence drops) related to their event tickets. If you compare YOI to Madoka or Monogatari, its consistency isn’t all that unique.

      YOI’s boost was a lot of units (about 22k over a ~58k/vol baseline for v1-2 combined), but really not that unusual of a percentage. Even by units it isn’t enormous. It’s less total units added than Love Live… season one. That despite having double the average overall. Or hell, the latest Utapri’s ticket boost is about 63k! discs over a 17k/vol baseline, with two tickets just like YOI.

      In short, it is consistent but that consistency is exaggerated in our minds because we’ve gotten used to “Mega Hit = Mega Tickets” and that’s not the formula YOI has followed. It’s definitely getting help from its tickets (wouldn’t be pushing 60k without them, since they add a net of ~3.5k to its average), but it’s not the wild boost of other recent mega-hits. By comparison, the latest Utapri should score about a 10k boost to its average despite wrapping up at less than half of YOI’s sales. That’s a massively larger chunk of its average, about ~37% compared to YOI’s ~6%.

      As for Granblue and mobage codes: Maybe it’s the start of a new strategy for big mobage titles. Maybe it’s a difference in Cygame’s corporate philosophy. Not sure how true it is, but I’d always heard that Kancolle intentionally avoided “pay to win” or at least “pay to get unique stuff” and maybe that philosophy prevented Kancolle from taking advantage of pack-in codes. Or there could just be technical limitations in some games that would make redeeming codes harder. Or they totally underestimated how appealing these things are. Or maybe it’s just a matter of who is on the committee. Cygames isn’t actually #1 on GBF, but they are #2 in an only two-member committee (behind Aniplex) so they’re probably footing a good chunk of the bill. If a different committee structure has little or no input from the game developer, they may be unable to or uninterested in including codes.

      There’s a lot of reasons why it might not happen, and indeed it has been the exception rather than the rule for popular mobage and other game adaptations. The last one to get a decent relative boost from doing this before Granblue was, I believe, Phantasy Star Online 2 The Animation (MMO not mobage but same idea).

      • Davv says:

        Thanks for the answers. Yes, Love Live was also in my mind as an example of the formula “Mega Tickets = Mega Hit”, to modify your words. Even if Love Live and Utapri are outliers, I wonder why series which use an event ticket to boost volume 1 don’t use one to boost Volumes 2-7.

        • something something says:

          Typically by the time volume 6 or 7 comes out it’s been 7-10 months since your show started airing. You can’t put ticket applications in every volume unless your event is nearly a year after the show begins (at which point people may have lost interest), or unless you’re able to hold multiple events.

          The five LL Sunshine tickets, for example, are for two distinct events. Two performances of an earlier concert for v1-2, and a mini-tour with performances in three different cities for volumes 5-7. The “Vol 1 for the evening show, Vol 2 for the afternoon show” is a somewhat common approach to 2-ticket releases with one event, but it’s hard to stretch one event beyond two volumes.

          Putting on these events takes a lot of work, and generally the more desirable the event, the bigger an ordeal it’s going to be. A small cast meet and greet attended by a couple hundred people for a niche slice of life show isn’t that big of a deal, but a full concert performance attended by tens of thousands of people is very much another. And while those small events are a lot easier to put together, they’re also in much lower demand. If you put an event ticket in every volume of, say, Urara Meirochou, I’m pretty sure you’d see zero ticket boost by volume 3 or 4 and barely any at all before that. And if you made it “buy all volumes to get the ticket” you’d probably just annoy people – and/or only pull in the super hardcore fans who were going to buy all volumes anyway.

          So while event tickets often feel like “free money” on the surface, there’s a lot of complications to consider.

          This kind of all-volume strategy is more viable for something like Granblue’s game codes, which act as an immediate reward when you get each disc. Or for something like sending away for a figure, where buyers are used to extremely long waits already and know it’s something that’ll arrive in the mail, rather than an event they have to physically travel to.

  10. something something says:

    Updated with the full list.

  11. Yaoi-Senpai says:

    OMG YOI IS BOOSTED IM DEAD!

  12. AnimePhoenix says:

    It has a chance of topping Nisemonogatari? Oh wow!

  13. Cyssa says:

    Wow, what a good and great surprise! I have no more words to express my happiness for YOI sales! Amazing!

  14. atala says:

    The last application period for the LLS tickets is currently on-going, right? So do you think there’s any particular reason as for why we’re not really seeing the kind of boost in sales that the last period showed? Would you say the last volume underperformed in comparison to expectations considering the tickets were for a big event?

    • something something says:

      May just mean people who wanted tickets got them in the first lottery. Or that since this second batch of events is a three-city tour, people just bought the one that was closest to them.

  15. Fabrinski says:

    As for JoJo PT4, are the current sales enough for Part 5 or should it reach at least 10K?

    • something something says:

      Impossible to say, because we don’t know what Warner Bros (lead of the anime committee and disc publisher) is expecting from it. Even with the declining sales I have to imagine it still does well for them (better than most at any rate), but whether it does well enough to justify a fifth season is another question. If they aren’t seeing enough return, we’d have to see if other companies step up to fund it. I imagine it does extremely well in streaming, both in Japan and outside.

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