After running around,
Fuji TV and TBS's schedules were completely full, booked all the way to next summer.
Moreover, the broadcasting fees they demanded were very high.
In other words.
Pokeni's only option now is—
TV Tokyo.
"Uh... although it's true that compared to the others, TV Tokyo is a bit smaller, it's still okay, right?" said Tsuda Nao.
At least it's one of the six major television stations.
Aoki Haruhi indicated that he could accept it, especially since TV Tokyo would become a powerhouse in animation in the future.
The only slight regret was that TV Tokyo didn't have enough manpower to undertake animation production work, so they would have to find another animation production company.
And Aoki Haruhi had visited large animation production companies like Toei, but their schedules were also completely booked.
"Let's put out a tender," Tsuda Nao suggested.
Consequently, Pokeni issued a tender to all animation studios across Japan.
Aoki Haruhi also agreed with Tsuda Nao's idea. After all, they had already made arrangements with TV Tokyo and had a slot secured, so there was no great need to seek out particularly famous, large-scale animation studios.
What Japan never lacks is manga artists and animation studios.
Some small, currently unknown animation studios might just grow into towering giants in the future.
As expected, after Pokeni issued the call for proposals, they quickly received responses from many animation companies.
Tokyo.
Pokeni Corporation.
In the conference room.
"President Qing, hello. I am Daimon Kenji from Azure Image Co., Ltd. I saw in the newspaper that your company wants to produce an animation based on a game, so I brought a sample reel today. Please take a look."
In the tender notice, Pokeni had described their requirements in detail—
They wanted to produce an anime with an Onmyoji theme, with a target of about 10 to 13 episodes, and an investment of 200 million yen.
Although it seemed like they had quite a few requirements, many companies were still fighting tooth and nail for the opportunity.
Some people, who hadn't even played "Onmyoji" or heard of the game before, even went out of their way to try it out.
Daimon Kenji was one of them.
After experiencing Onmyoji, his first impression was—
This game is truly incredible.
Although it is a galgame, its storyline has full potential for an anime adaptation; it just needs the core plot presented and some details filled in.
To this end, they spent about a week reorganizing the script outline and simultaneously produced a 20-second animation sample.
Watching an animation sample is practically an established industry rule.
After all, for the client, the most direct way to gauge whether a partner company's animation production level meets their expectations is to look at the sample provided.
Aoki Haruhi already had his own expectations and vision for what Onmyoji would look like as an anime; he was just waiting to see which company could best live up to them.
It would be even better if they could exceed his expectations.
"Okay, please go ahead," Aoki Haruhi nodded.
Besides Azure, four other companies were scheduled for today, and they were all waiting outside.
The competition in the anime industry is truly daunting.
It's even more intense than in the gaming industry.
Daimon Kenji inserted the videotape into the machine. The television flickered for a moment, and an image appeared—
A Miko holding a bow and arrow was running through a forest, clouds flying in the distance, the surrounding scenery blurred by a sense of speed.
She took a leap, sprang onto a tree branch, and narrowed her eyes.
In the distance, a white wolf lowered its head and let out a low growl upon seeing her.
Whoosh. The feathered arrow was released, flying straight toward its target.
Swish...
The white wolf lightly jumped to the side, dodging it.
The Miko's eyes sharpened. With a few leaps, she followed along the treetops in pursuit.
This actually doesn't have much to do with the plot; it's mainly used to showcase the animation style and quality.
Whether or not it can meet the client's wishes is the key.
I have to say, it really feels good to be the client.
The action in this segment is very smoothly connected, and the expressiveness is excellent, which is enough to show that this Azure Animation Production Company has a very high level of production and storyboarding in terms of action scenes.
If one had to find any imperfections,
Aoki Haruhi felt that perhaps there was still a slight lack of refinement and softness.
In his design, Yuki Rei is a girl who appears fragile on the outside but is strong on the inside. Her facial features and physique should actually be more feminine.
As for the color palette, he felt that this company's colors were a bit too dark.
Perhaps it was to express and establish a "tear-jerker" feel, or maybe to make the action scenes appear more hardcore.
The pixel precision in the game is definitely not as high as in animation, so even with the game as a reference, there is actually a lot of room for the animation to play with and adapt.
Moreover, there is a lot of room left for interpretation in the game outside of the main storyline, which really tests the level of the animation production team.
"Yes, okay, thank you for your work. I have to say, the action is very smooth, and we will seriously consider it. We will be in touch if there is any news later."
Aoki Haruhi stood up and shook hands with Daimon Kenji.
The latter's mouth twitched, as if he had a bad premonition, but he still shook hands with Aoki Haruhi and bid him a polite farewell.
After interviewing three companies in a row, Aoki Haruhi felt like he was going crazy.
At first, the feeling of being the "client-daddy" was quite nice, but the production standards of these companies were all highly impressive.
Each had its own strengths and weaknesses, but the level of quality was certainly there.
This one seemed good, and that one was also not bad.
After watching the footage from this one, he would automatically imagine a story; after watching the footage from that one, he wanted to clap and cheer.
It was enough to trigger his choice paralysis.
One could only say that Japan's animation companies were truly formidable.
Unless it was someone on the level of Osamu Tezuka, Hayao Miyazaki, or Makoto Shinkai, you really couldn't feel much of a gap.
The differences were nothing more than in the scripts or the style.
"Call the next one in," Aoki said.
"Yes, President," Ayase Akane nodded, opened the door, and went out.
A short while later, a woman in her 50s walked in, accompanied by a slightly younger man.
"Call the next one," Aoki Haruhi said.
"Understood, President." Ayase Akane nodded, opened the door, and went out.
A moment later, a middle-aged woman in her 50s walked in, accompanied by a slightly younger man.
"Hello, I am Hatta Yoko, the person in charge of Kyoto Animation's bidding this time. Nice to meet you, please treat us well."
"You are too kind. It is I who should say that. Please treat us well."
Aoki Haruhi stood up and shook hands with the middle-aged woman.
After both sides sat down, Ayase Akane placed the materials prepared by the other party in front of Aoki Haruhi.
He only took one look, and his heart skipped a beat.
No wonder the name sounded so familiar.
So, it was KyoAni!
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