UlasanAnime.com – This article delves into the intriguing phenomenon of why certain anime, like “Lucky Star,” garner such devoted followings, exploring concepts of intellectual property, franchising, and the unique appeal of seemingly “un-mainstream” content.
The author expresses fascination with the sustained interest in “Lucky Star,” prompting a broader reflection on the economics of media production and consumption.
A core observation is the inherent tension between the free market’s constant influx of new content and the business strategy of capitalizing on proven formulas. The author posits that in many industries, including anime, it would be more economically sensible to identify a successful model and exploit it for as long as possible, akin to the approach taken by publications like Shonen Jump.
This “milk it” strategy, the author argues, applies to various media consumed in the US. The emergence of new revenue streams, such as home video sales and television broadcasting, has historically encouraged the production of more diverse shows catering to specific market segments.
The author clarifies that this discussion is not a commentary on the quality of shows, whether long-running or short-lived. The principle of sustained engagement applies universally.
Furthermore, there’s a psychological element at play. When audiences invest significant emotional and temporal resources into a series, they develop a vested interest in its narrative. This familiarity often leads to increased affection for the show, making viewers more forgiving of its flaws and easier to entertain.
However, the author notes that some cases defy these conventional explanations, with “Lucky Star” being a prime example. While its “crazy-sugary candy shell laced with loli” might initially seem superficial, the underlying content is presented as not fundamentally different from its more “relatively-sane competitor,” “Hidamari Sketch.”
The enduring popularity of “Lucky Star” is partly attributed to the strength of the Kyoto Animation (Kyoani) brand, benefiting from the goodwill generated by their previous successes with “The Melancholy of Haruhi Suzumiya,” “Kanon,” and “Air.” This brand loyalty, the author suggests, is a significant factor in understanding the show’s current standing.
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The author then circles back to the initial question: how does “Lucky Star” defy the expected patterns? This leads to speculation about psychological complexities, drawing parallels to investment decisions like choosing mutual funds over index funds. Another point of comparison is the disparity in fan subbing efforts, where “Hidamari Sketch” has fewer subbers despite having a substantial portion of its season completed, while “Lucky Star” episodes 1 and 2 already have numerous releases.
A question is raised whether this indicates an impending realization that “Lucky Star,” described as an “average slice-of-life 4-komi comedy fluff show,” will eventually be abandoned by all but a few dedicated groups once its perceived mediocrity becomes apparent.
Despite this, the author hesitates to label “Lucky Star” as simply “average.” The presence of Aya Hirano, while acknowledged, is downplayed. The involvement of Kyoto Animation is considered more significant. The show boasts a catchy opening sequence with a memorable, albeit quirky, song.
Crucially, the absence of “TEROGE” (eroge, or adult games) taint is noted, preventing the “lolita-stic” character designs from becoming a point of contention, unlike in “Manabi Straight.” For viewers identifying as “LOL otaku,” the fanboy jokes and references, particularly those involving Konata’s persona as a “mythical incarnation” (a sphinx and a permanent loli x otaku), provide amusement.
These “otaku jokes” are characterized as “stupid-funny” and somewhat “lame” in their execution, yet they resonate with a specific audience, explaining their appeal and why people “get” these references.
The author proposes that the core of “Lucky Star’s” appeal, and to some extent that of most Kyoani works, lies in its “teflon” quality. While the exact mechanism remains elusive, the expectation and reception of Kyoani productions differ from those of other studios.
Negative expectations, the author contends, simply “don’t stick” when watching “Lucky Star.” The high production quality and solid execution contribute to a near-perfect first impression, especially for viewers who approach the show without preconceived notions.
