CEDEC 2021 was held online for three days from August 24 (Tue) to 26 (Thu), 2021.
広告In this article, we will report on the content of the discussion on August 25, 2010, "New Paradigm of Media Mix in the New Normal era, which is desired from the character economy and IP creation perspective."
In this debate, what are the tasks of developing in the future from a global perspective, as the method of "media mix", which has been used for a long time in the media industry, is now developing into a separate form.Is looking ahead.
The moderator was Akinori Nakamura, a professor of the Faculty of Video, Ritsumeikan University.Since 2015, he has been analyzing and studying IPs in North America and Japan on "Trans Media Storestring" ( *) (hereafter, TMS).
* Trans media storytelling: One IP is developed in manga, animation, games, etc. in a form that is consistent in the world view.A media mix development designed so that the users who touched it were connected to each work like a puzzle and gained an excitement as "Is that the case?"Media franchise and license business are developed mainly in products themselves, but TMS is a big difference in developing the story in the background.
This time, in addition to Mr. Nakamura, who handles TMS, which has been increasing successfully in recent years, in addition to Mr. Nakamura, the two media mix experts have participated in discussions.
The first is Juno Nakayama, who has succeeded in producing and marketing at various game companies such as Bushiroad, and also leads research on "character economic zone" (details will be described later).
The two eyes are creator Ishisirou, who is known for his masterpieces such as "428 -Shibuya in Shibuya" in the game, and has been active in anime, stage, and drama scenes.
Producer who knew the process of the economic effects created by characters, mainly by TMS researchers who had a huge success in media mix in recent years, have produced various popular IPs regardless of the genre of the media.Multi creators join them and talk about the future and the future of the media mix.
At the beginning of the discussion, as a previous stage, Mr. Nakayama explained the "character economic zone" and the recent IPs proposed by Ishii.
What is the character economic zone in the first place?Mr. Nakayama first showed a character that has been created in many years, especially in Japan and the United States, and a graph on the economic scale created by various media, such as movies, television and games.
The largest example was "Pokemon"."Pokemon" has been derived into various sequel games until recently, as well as TV animation, theater animation movies, character goods and card games, and the economic effects created are 10 trillion yen.
Looking at the recent changes in the entire game market, in addition to mobile games including Pokemon GO, home online software has grown rapidly.
The IP market is born from anime and manga in the old days.In the popular era when Doraemon and "Obake's Q Taro" were popular, sponsor companies' sweets and toys were the mainstream, and they derived from there.
It will be derived from video works to games later.And after the era of home games such as Super Mario Bros. and Pac -Man, IPs are now born from online games.
In the media mix development of the app game "BANG DREAM!", In recent years, interesting phenomena unique to it.
When developing multiple media mixes such as games and anime, it is not unusual for users to drop to about 1/10 between the first and second phases of the animation.However, in the case of "Bang Dream!", During this period, we were able to keep raising expectations by exciting in games and events.
In recent years, in recent years, in recent years, in recent years, digital media such as SNS, including demand, is one of the proofs that is the most common -day -by -day user towing of user -by -day users.
Mr. Nakayama considers the character economic zone, mainly anime, is similar to stars and planets.
The work is developed mainly by the anime production committee located in the stars (sun), and the fans have spread to 100,000 or 200,000, and it is a stage to think about what to provide to the fans.And mobile games are born like a planet around.
Using this figure makes it easier to understand the size of the typical character economic zone in Japan and the elements where the economic sphere is created.
Due to the strength of the media, the character economy was born in Japan and the United States, which created many characters.The center axis has been changing with the times.
The things that attract users have also changed, and now you need a continuous and unified story while developing a variety of developments.This is an economic market in a method of developing multiple media, such as cross -media, media mix, and transformer -media storytelling in multiple media.Now, interaction with fans is indispensable.
Subsequently, Ishii stated his views on the IP and story he handled in his book.
He was in charge of the story in the game production, and as he wrote his views in his book, he began to consider how to make a story rather than the IP itself.
At that time, the movie of Marvel Cinema Universe was particularly hit.Why can the movie launch an interesting scenario every time and gain popularity?
He believed that the "successful series" has the common "evolving IP" in three stages.This idea is very close to TMS proposed by Nakamura.
Regarding IP (intellectual property rights), the entertainment industry considers not only copyright but also the trademark of the invention, title, and industrial ownership.
Even if it is not a single title, such as Disneyland or Pokemon, it will roughly capture the entire IP as an IP.
Mr. Ishii has classified this IP into three categories: "Story IP", "Character IP", and "World View IP".It is said that it evolves and grows from story IP to character IP, character IP to world view IP.
There are almost no successes created as a world view from the beginning and succeeded.The IP first grabs the customer base as a story IP, which is a great success by growing into a character IP and a world view IP.
There were also representative works for each classification.Most old masterpieces are classified as story IPs first.The attractive story is the popularity of the work.
In Japan, story IP is very popular.Looking at the movie box office revenue rankings in Japan, the story IP works are solidified in the top.
However, the story IP is difficult to succeed in the sequel, and it stops at Part 2 and Part 3.You can see this from the fact that the sequel in recent years claims to be the continuation of "2" in "Terminator" and "Alien".
Beyond that limit is the character IP, where the character leads the charm of the work.
Japan is more good at character IP than the United States.In addition, many boy jump works are story IPs, such as "Fist of the Hokuto" and "Kinnikuman", and some of them are character IPs such as "Dragon Ball".
The history of character IP is old.And the old character IP, which has an old history, has been successful in the sequel whose performers have changed.IPs tied to performers and writers often do not succeed in the sequel to generations.In Japan, Kiyoshi Atsumi, who is "hard, is hard," will be a typical example.
In addition, in the case of character IP, which is not very old, it has a weak point in media mix, such as a change in generations (cases in which writers, performers, and leading characters change) and that it is not very popular in games.
The world view IP has overcome its weaknesses.Here is the Marvel Cinematic Universe.
If you look at the world's movie box office revenue rankings, you can see that the work that is TMS and a world view IP is ranked high.
Naturally, there is a world view in Japan."Mobile Suit Gundam", which continues to gain popularity even if the leading roles and times change in the universe century, and "Fate", which succeeded in multi -berth development in "Fate/Grand Order", is a world view.。
Mr. Ishii's work, especially the future of the IP, was "Avengers End Game", which was at the top of the world's IP, and "Demon Blade Infinity Train Edition", which was at the top of the Japanese IP.is.
"Demon Blade Infinity Train Edition" is not a world view, but it is a work of a series, but it starts in the middle of the whole story and ends halfway.It is said that the structure in which such works have become popular also have concepts close to the world view IP and TMS.
After explaining the basics, discussions were started while asking the viewer's live chat questions.
Overseas, there are many TMSs that connect the world in movies and animation works, like Marvel Cinematic Universe.So what if this would be realized in Japan?
Mr. Nakayama has almost the same perspective as Mr. Ishii, and he makes a pass in an unintended form like a soccer, which leads to one point, and the formation is created from there.It is an image that the IP grows
Depending on the writer who entrusts the script, the edge may be shaken in a specific direction.While producing NG from the production perspective and the reaction of the user, the story is accumulated twice and three times with a story, and it will grow into a project in the world view.
In conjunction with Nakayama's opinion, Ishii stated that the writer's know -how and work would be used for TMS's "materials" only in the repetition.Marvel and others are exactly the same.What the writer has accumulated is very important for IP.
"Gundam" and "Fate" are also good examples."Fate" is still a strong IP of Kinoko Nasu, but he welcomed Mr. Gen Kabuchi to the main writer in "Fate/Zero" while developing mainly by Nasu, and since then, another writer in a home version.There are accumulation such as developments.He says that the result has led to Fate/Grand Order.
Producers are more famous than writers in American IPs.Conversely, many Japanese IPs become more famous than producers.As an example, Ishii cited Kevin Faigi, who led Marvel Cinematic Universe to success, and Naohiro Kogata, a producer of the Gundam series.
In Gundam, like the latest anime movie "Hathaway of Flash", he entrusts the work that the original author is Yuki Tomino to another director, and also moves live -action projects in a partnership with Legendary.However, it is only recently that Mr. Komagata has been known as a producer and has been featured in interviews.
The accumulation of Tomino's writer and the result of Mr. Komagata, who has been raised into TMS and raised it into a world view IP.From this area, you can see the foundation required for TMS regardless of Japan and the United States.
The TMS format, which provides TV drama and TV animation works on online video distribution services (OTT) such as Disney Plus and Netflix (OTT), has become the mainstream in the United States in recent years.
This is because the "TV", which had a border frame, collapsed by OTT.It was difficult to access works derived from American comics from abroad, but the situation was gone.Mr. Nakayama believes that a large project, which costs tens of billions of production in the United States, can no longer be talked about without OTT.
Conversely, in the case of Japan, for example, there is a limit to whether Gundam can be put on such global OTTs.If you try to secure 90 % of sales in that situation, the project scale is about 20 to 3 billion.
As the United States has almost begun to use OTTs, he said, "It will produce a result of preparing for the world expansion, such as buying video distribution services by Aniplex," said the United States.
Ishii also argued about the reason for the good compatibility between OTT and TMS.
In the three acts of the movie, it tends to talk about the protagonist rather than talking about the world view.To talk about the worldview necessary for TMS, there is not enough information.
Marvel Cinematic Universe did not keep it in the third act, but increased the amount of information by doing it with multiple films.If you make dozens of movies, the announcement and execution from the beginning created a situation where you didn't know because you didn't watch the previous work, and the number of spectators could be down, but the success was successful.It can be said that it is a special case.
In Japan, TV anime used to be broadcast on 53 episodes and 4 cools, and a novel game with a very large volume became popular, so there is enough information to accumulate the worldview of TMS.rice field.
OTT is very good in terms of this "quantity".It may be a major reason that Marvel is shifting to OTT because it is effective to increase the volume of the story.
The ranking of the “series work that could be criticized as a TMS” that was submitted in advance from the three sides of the discussion participants has also been released.
Mr. Nakamura, who has an academic perspective, chose Star Wars, whose view of the world, including games, has been firmly unified.
In addition, J. R.R Tolkin works (JM Rolling for the same reason), which allows you to enjoy movie works after checking book works such as "Hobbit" and "Ring Story", are also listed in the top ranks.
Mr. Ishii also stated that Tolkin and Rolling were essential important works, and the Cthulhu myths series and others were world views.However, from the viewpoint of the product, the IP must be owned by someone."Cthulhu mythology" is a sharing, and the Sangokushi, a public history for the same reason, is not strictly IP.
From the production perspective, Nakayama chose the work of Steven Spielberg.The director has gained profit from George Lucas in Star Wars and "Encounter with Unknown" and "Star Wars", and this is a geeky Spielberg, pursuing profits of Lucas.It was said that it was an opportunity to imitate the posture.
Spielberg said, "E.From around, we began to demand a tremendous royalty of 10 % of retail, including goods.He said that he had earned 70 to 80 memories in retail, with a supervision income of 400 million.At the stage of Indie Jones, he gave a tremendous condition of 50 % royalties and still succeeded.
The composition that Director Spielberg, who disliked the series sequel, still created a sequel to a franchise royalty, certainly feels an interesting aspect of media franchise.
Mr. Ishii also mentioned the familiar TMS in Japan and the United States, such as Gundam and Star Trek, but also works such as "Kamen Rider" and "Pretty Cure".
The worldview IP work that has evolved further in Japan is "Gundam", "Pretty Cure", which includes other than the universe century, or "Kamen Rider".For example, if the name is included as a "Kamen Rider", the work will be a Kamen Rider IP even if the world view is completely independent.
This method has not yet handled even Marvel yet.It has become a hot topic that the multidimensional setting (Spider Bath) of "Spider -Man" may be united, but in Japan, "Kamen Rider Decade" is already a world of multiple Kamen Rider works.It is developing as.
"Pretty Cure" has similar methods, including theatrical animations.In "Gundam", "∀ Gundam" set as a group of all Gundams.Mr. Ishii says that this is the world view that Japan is going further than in the United States.
In the future, Marvel and others will follow this with a very strict mechanism, and he will pay attention to when to take this form and go further ahead of Japan.
This is a question that was thrown by Nakayama and Ishii as the last summary of the discussion.
As I mentioned earlier, Mr. Nakayama states that the producer is still suitable in Japan, rather than creating TMS in advance, with the producer in Japan, in Japan, and the producer as a writer's Kuroko.rice field.
In addition, IP games in Japan emphasize commercialization, and they feel that they are making a gap, such as plus alpha on it, so that they do not disturb the original.How to be like an editor collaborating with the writer while thinking that Marvel is enviable?It is the road where the game industry lives in Japan.
Mr. Ishii mentioned that in the case of Japanese games, creators have no copyright, and recently the indie games have a movement to have creators copyright.From here, he believes that more creators will increase in Japan, which will be one of the TMS deployment materials.
Otherwise, the game could be different in Japan in Japan.In the United States, the producer for films and the writer for manga are the author, and this format is working.He suggested that it would be difficult to catch up with the United States unless you fight a different fight in Japan.
* The image of this article has been captured from the distribution.