Mr. TRETRIFIC asked:
“Will superhero burnout affect anime movies at the box office?”
Superhero fatigue* It’s real. Just look at the box office results for the summer of 2024 Captain America: Brave New World, Thunder and Lightning, Fantastic Fourand James Gunn SupermanI must admit, I really like it.
*Superhero fatigueif you don’t know, this is a widely discussed phenomenon, which refers to the decline in audience interest in this type. This is often attributed to the huge amount of releases, the interconnected and often confusing continuity, and a formulaic sense of story. As a result, many young audiences are looking for “a different thing.”
This new American superhero movie failed to ignite the global box office as the predecessors did in the pandemic world. I personally am the sucker for superhero movies and TV shows. I looked at them and loved them. From Richard Donner’s Superman and Tim Burton’s Batmanarrive Sam Raimi‘ Spider-Man Trilogy (even Tobey MaguireThe “emo Spider-Man Moment” in movie number 3, and the diverse products to this day, including Boy, invincibleand Sony Pictures Animated Enter the spider verse etc.
Something different
If superhero fatigue affects anime, it’s just a great way. Reed Richard’s loss is the harvest of Tanjiro Kamado. If not all of us were reading the title, like “Anime Massacre at the Box Office” type and Hollywood Reporter By the end of this month, I’ll eat mine [straw] hat.
Although the current global gross gross is low, Demonic Killer: Kimetsu no yaiba – Infinite Castle On a path that may exceed space Warner Bros.‘ Superman Until the play ends. As of early September 2025 Superman The wide front distribution worldwide is now slowing down, raising about $612 million in revenue worldwide. By comparison, Demon killer In limited issuances on a handful of Asian territories alone, more than $300 million has been earned from limited issuances, with Japan alone reaching $204 million.
The true global exam for anime movies began on September 12, and it was widely launched to major markets including North America and Europe. Industry forecasts are very optimistic, some analysts believe Demon killer Can surpass SupermanThe final total revenue is expected to drop by about $650 million. This not only makes the film a strong box office contender, but also makes the film profitable. The rumored production budget is a small part SupermanEstimated total cost ($400 million, including marketing), Demon killerIn its producer’s success Aniplex,,,,, Sonyand crunchyroll Compared with traditional Hollywood blockbusters, it emphasizes the cultural and financial dominance of anime.
The prosperity and prosperity of the pandemic and Disney-powered MCU Limited series, and the horrible performance of 2023 Ant-Man and Wasp: Quantumis the last nail in the superhero coffin. Meanwhile, it is no accident that the long-term streaming series has become the comic book kryptonite, which is also powering the global demand for anime, which, especially among teenagers and young adult audiences, is now burning more than a thousand suns.
Two years of lockdown allowed an entire generation to consume hundreds of hours of anime. piece Before 2022-23, it is not the number one anime in the world, this is a movie piece Red Become a global box office sensation. 1,000+ half hours is a stupid content that can be passed, and the huge plot may be the main obstacle to stopping more new eyeballs from discovering it. but! What followed was the Covid-19-19 pandemic and a few years of lockdown. Suddenly, people have the time and tendency to make Baldz deep in the anime.
“Cap!”
Such as company investigations and reports crunchyroll It has been shown that most Gen-Z watch anime regularly around the world. one Poll More than 50% of Gen-Z watch anime, comparing it to other major pop culture idols. Another article in the entertainment industry Analyst It shows that anime will be an important part of Disney’s strategy related to Gen-Z audiences.
We’ve discussed the appeal of anime to global audiences, especially Gen-Z, before, and I know to keep reading these buzzing demographic descriptors, especially if you (people 12-28 today)). Still, the reason for the film and television industry’s obsession with this particular cohort is that the 25-54-year-olds are the only “demo” important to advertisers. Today’s teenagers will quickly become tomorrow’s 20-something consumers. Brands must get up early with younger consumers. Why do you think uniqlo Are there so many comics and anime collaborations in its UT series? Because it is the perfect and affordable entry-level product that makes teens appeal to teens in the store and hopes to be a lifelong customer.
Connecting with Gen-Z audience today is crucial for entertainment brands like Disney or Netflix Ensure their future growth and relevance. We should review why we think anime has such a strong appeal to ZZ audiences from Tokyo to Shanghai, Riya gets Mumbai to Sacramento. There are three key ingredients. They are:
- Emotional and narrative depth: Anime and comics often address the beginning, middle and end of these stories, from romance to deep, philosophical science fiction, offering a variety of genres and complex themes.
- Creative freedom: Compared to the Hollywood Council-driven, interconnected universe, Japan’s production model is often centered on a single creator (Mangaka) that allows for more unique and personal storytelling.
- Accessibility: The rise of streaming services has made anime easier to access than ever before, making it easy to watch series and its related movies. This is crucial for a generation used for consumer media needs.
Now! Consider the past 6-7 years of superhero movies, comics, TV series, etc. Is it affordable for DC or Marvel graphic novels medium Tank squad? It’s a ticket to the cinema Thunder and lightning Cheaper than a one-month subscription crunchyroll? There is new Superman bl A series that can be read, or a romantic fantasy thriller about a real estate agent trapped in an inescapable video game?
Comics and Comics
Comics are the natural home of superheroes. The state of American superhero comics has never been so dangerous. A recent comic article highlights why American comic publishers can never compete on the same level as the Big Four comic publishers. Honestly, even comparing them is unfair, but this only further highlights the current cultural drift that plays a role between the United States and the “Western” and the soft power attraction of Asia, especially Japan.
We live in an age of unlimited content. If you are a fan of comics or anime, you don’t want to wait for every two months of your favorite story. Japanese comics are often published in sprawling, inexpensive weekly or monthly anthology magazines (such as the weekly shōnen jump) that are immediately available for overseas fans to access digitally immediately Shonen Jump Application platform.
Readers can taste many different series at a low price. If the series is popular, compile its chapters into paperback (Tankōbon). This model is very effective for discovering new titles and building a readership. The comic Tankōbon is generally more affordable than American comic books, offering hundreds of pages, comparable to a 20-page American comic problem. This makes it a more accessible hobby.
Comics are largely independent stories, even if they run a lot. They have a planned ending. In contrast, American superhero comics often exist in a never-ending, puzzling continuity that can be daunting for new readers. That’s why the average audience is tired of the ever-expanding model of the movie story universe that Disney and Marvel prefer. Additionally, the comics market is very diverse, and when they deal with traditional superhero opponents, they will be with them and create unexpected and fresh things. This wide variety of genre attracts a wider audience, including women and girls.
The reason why comics and anime are successful, while American superheroes don’t have it is because of the emphasis on always being mango (comictor/writer) as the creativity of their stories, which can have a consistent artistic horizon and style. This is different from the rotating team of writers and artists common in American comics, which can lead to inconsistencies.
I can’t help but feel optimistic about the direction of Western genre and novels, no matter where it comes from or the medium of telling. One thing that Hollywood seems to learn soon is that Japan is not what we want to do when it’s busy creating stories, and maybe, neither should we.
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