UlasanAnime.com – This article delves into the box office performance of “The Idolmaster Movie,” analyzing its financial success within the context of late-night anime spinoffs over the past decade. The analysis highlights the movie’s earnings and compares them to other prominent anime films, offering insights into the value and reception of such productions.
The official site for “The Idolmaster Movie” has been updated with final box office numbers, revealing that the film ranked sixth among late-night anime spinoffs released in the last ten years. This data was compiled and shared by 2ch, providing a comprehensive look at the movie’s financial achievements.
The provided data includes total box office earnings and opening weekend figures, all expressed in hundred million yen. For context, a conversion rate of 1 USD to 100 JPY suggests that 20.8 billion yen is equivalent to approximately 20.8 million USD. Based on this, “The Idolmaster Movie” grossed around 6.7 million USD, a figure that prompts reflection on the significant commercial success of anime films like “K-ON the Movie” in Japan, even when compared to international releases.
It is important to note that this comparison specifically focuses on “late-night anime” movies. Major franchises like “Lupin the Third,” “Gundam,” and Studio Ghibli films operate on an entirely different financial scale and are not included in this particular list.
The following list details the box office performance of various late-night anime movies from the past decade, with columns indicating total gross (in hundred million yen), opening weekend gross (in hundred million yen), and release date (year/month):
20.8å„„ (4.00å„„ opening) – 13/10 – Madoka Rebellion (US screening, likely not counted)
19.0å„„ (3.16å„„ opening) – 11/12 – K-ON (Missed this one, only saw on home video)
10.4å„„ (1.98å„„ opening) – 13/08 – Anohana (US screening, likely not counted)
8.5å„„ (0.89å„„ opening) – 10/02 – Haruhi (US screening at a con, definitely not counted)
7.0å„„ (1.18å„„ opening) – 11/02 – Macross F part 2 (Completely missed, even on home video)
6.7å„„ (1.40å„„ opening) – 14/01 – THE IDOLM@STER (Seen 5 times!)
6.1å„„ (1.30å„„ opening) – 14/02 – Tiger & Bunny R (Completely missed)
6.0å„„ (1.18å„„ opening) – 12/09 – Tiger & Bunny B (Completely missed)
5.9å„„ (1.39å„„ opening) – 12/10 – Madoka Beginnings (US screening, likely not counted)
5.7å„„ (1.72å„„ opening) – 12/10 – Madoka Eternal (US screening, likely not counted)
5.6å„„ (0.87å„„ opening) – 13/04 – Steins;Gate (Once, JP screening. Waiting for a US screening)
5.5å„„ (1.23å„„ opening) – 12/07 – Nanoha 2nd A’s (Only on home video)
5.0å„„ (1.01å„„ opening) – 13/02 – Index (Did not want to see)
3.8å„„ (0.61å„„ opening) – 10/01 – Nanoha 1st (Only on home video)
3.1å„„ (0.52å„„ opening) – 11/06 – BASARA (Nope)
2.8å„„ (0.38å„„ opening) – 10/01 – FateUBW (Only home video)
2.3å„„ (0.40å„„ opening) – 12/03 – Strike Witches (Only on home video)
2.2å„„ (0.56å„„ opening) – 13/09 – Chuu2Koi (Wish I could have)
2.0å„„ (0.39å„„ opening) – 12/06 – Library Wars (Nope)
1.4å„„ (0.30å„„ opening) – 14/04 – Tamako Love Story (Wish I could have)
1.0å„„ (0.32å„„ opening) – 12/06 – BLOOD-C (Nope)
1.0å„„ (0.32å„„ opening) – 13/03 – Hanasaku Iroha (Once in Japan, once in US at a con)
1.0å„„ (0.22å„„ opening) – 11/06 – SoraOto (Only home video)
0.8å„„ (0.12å„„ opening) – 10/12 – Fafner (Nope)
0.7å„„ (0.12å„„ opening) – 10/04 – Trigun (At a con, didn’t count)
0.2å„„ (0.2å„„ opening) – 14/02 – Mouretsu Pirates (Once in Japan)
0.1å„„ (0.1å„„ opening) – 13/01 – Wake Up Girls! (At a con, didn’t count; plus streaming)
Several questions arise from this data regarding the factors influencing box office success. One key aspect is the role of “tokutens” (special bonuses) offered with movie tickets. “The Idolmaster Movie” featured substantial tokutens, which likely encouraged repeat viewings and thus inflated its box office numbers. This leads to the question of how much these incentives contribute to the overall gross.
Furthermore, the broader context of the “Idolmaster” franchise’s revival in recent years, including events like the SSA live concert, the “OFA” game, “Puchim@s,” and the general surge in franchise popularity, also needs consideration. The emotional connection fans have with the series, often stemming from non-anime related content, plays a significant role in their desire to support the movie, potentially driving repeat attendance.
The issue of repeat customers is also a crucial point. It is debatable whether simply looking at post-opening weekend numbers and dividing them by the number of theaters provides a meaningful comparison, especially when factoring in movies with varying levels of tokutens. A more in-depth statistical analysis might be needed to clarify this.
The observation that pre-orders for “The Idolmaster Movie” were not as robust as its box office performance suggests that a significant portion of the revenue came from repeat viewers who might not necessarily purchase multiple copies of the movie on home video. The author’s personal experience of attending early morning showings weeks after the release, with a considerable number of attendees, supports this notion. The specific tokuten offered during that period, random shikishi from Goripon, was one of the more valuable incentives, likely driving further attendance.
A significant challenge in this analysis is the lack of comprehensive data. While Aniplex has been transparent with box office figures, detailed breakdowns for other comparable movies are scarce. The movie concluded its main run in March with approximately 6.45 million USD, but comparing this to other films with similar data points remains difficult.
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In conclusion, “The Idolmaster Movie” is a testament to the passion invested in its creation. The article expresses a hope that the film will be accessible to a wider audience soon, allowing more people to experience its impact.
