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Is there any Soul Eater anime remake possibility? An anime and manga series called Soul Eater is on the fast track to becoming a new classic. The series enjoyed significant cult status during its run, ranking directly behind Shonen Jump heavyweights Naruto, One Piece, and Bleach in terms of popularity.
This applied to both the anime version of the manga as well. Despite the popularity and longevity of the manga, the anime only had 51 episodes, which was very little.
By the end, Soul Eater had significantly departed from the plot of the manga, which was still being published at the time. This would make it challenging to create a new season. Here’s what the show was about and why, ten years after the first season ended, there hasn’t been a follow-up.
The Plot of Soul Eater
The Death Weapon Meister Academy, located in the unearthly metropolis, is the setting for Soul Eater. In this place, some people train to become strong living weapons while others train to be their handlers or Meisters. The main character, Maka, is the Soul Eater’s Meister and has the ability to change into a scythe.
The souls of 99 bad individuals and 1 witch will be consumed as part of Soul Eater’s training to help him become a more powerful death scythe.
The main opponent is the witch Medusa, who desires to revive the dark god Asura and change virtuous people into wicked kishin. The Studio Bones-produced anime, which later received a license from Funimation, lasted from 2008 to 2009.
There would be two broadcasts of it: a regular one at 6:00 p.m. and a late-night one with additional content suitable for the morbid, spooky series. Even Adult Swim would air it when it finally arrived in America a few years later.
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Soul Eater anime remake possibility
The Soul Eater Problem
For those who have been following the medium for a while, none of this will come as a surprise, but it doesn’t make it any less important or anything worth complaining about. But how does this apply to Soul Eater, a single late 2000s TV anime series from a company that still creates excellent TV anime?
Because, by industry standards, trying to replicate what Soul Eater did in 2008 would be increasingly challenging. Soul Eater was a really well-produced program by a studio that was undoubtedly at its pinnacle at the time, whether you like it or not. It was a heartfelt action drama with a special brand of excitement.
Something about the way the program was produced feels different from the way a lot of contemporary anime is produced. It could be the colors or the character designs. With famous Bones director Yutaka Nakamura at the helm and some of the studio’s best action, Takuya Igarashi was at the peak of his game.
It’s not like their imprints aren’t still visible throughout the sector. Igarashi is still in charge of directing the Bungo Stray Dogs series at Bones. Nakamura is still under contract with Bones, where he is frequently let loose to produce the episodes and films of My Hero Academia that garner the most Twitter retweets.
The duties and demands placed on the talent in the current state of the sector may not have altered, but they undoubtedly have. Joan Chung, previously of Science Saru, discussed her time in the industry before leaving in 2021 with Kim Morrissy of Anime News Network. She discussed how the workplace culture altered, particularly as a result of the pandemic.
Chung remembered Science Saru as a studio with a congenial work culture that managed to stay afloat despite the language challenges and the then-tight schedule. She identified an overwhelming volume of productions as a major problem.
Even Bones, with its admirable fan base and eclectic portfolio of interesting and excellent works from the last two decades, isn’t the same studio it was ten years ago. In addition to the films and OVAs that are created in the interim, they are now the studio behind My Hero Academia, an annual event that is worked on almost year-round.
Better project scheduling and more funding are both required for the industry, but animators’ pay should rise above all else. Considering how much the anime industry relies on contractors currently, translator Simona Stanzani told the New York Times that the studios “have a lot of cannon fodder – they have no motive to boost salaries.”
Other than animators, there are other puzzle components. A team is required to provide uniformity across a project, along with the oversight and criticism of the directors. It was this process of revision, correction, and quality control that made it possible to create successful TV shows like Soul Eater, which had a sizable budget and a realistic production schedule.
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The Animator’s Plight
Although the anime business has continued to expand, not all of these improvements are positively reflected in every step of the production process. Overall revenue has increased, but the animators aren’t benefiting from the boom that has spread around the world.
When the pandemic’s impacts on consumer demand for animation were still being felt in 2021, the New York Times took aim at this very idea in an article about the working circumstances for animators in Japan.
Many of the findings were repeated in fandom-specific video essays and blog articles addressing the issues, including overwork, underpay, and money going to production committees.
According to Ben Dooley and Hikari Hida of the New York Times, these committees are “ad hoc coalitions of toy manufacturers, comic book publishers, and other sectors that are organized to support each project.” In the end, while these committees have profited from the growth of the medium around the world, the same cannot be said for those who created the art itself.
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Changes in the anime industry
This is neither a criticism nor an evaluation; the anime industry is nothing like it was ten years ago. It is a simple fact that popular and trending anime changes every few years, along with the prevailing aesthetics and production methods. Both positive and negative changes have been represented in the media, but studio industry tendencies are growing more concerning.
According to the Teikoku Databank, 30% of studios in the sector were experiencing financial losses in 2018. Even the percentage of other studios’ revenue growth decreased from prior years. All of this is true despite the fact that, as of 2018, the revenue of anime companies had been steadily rising to record levels.
Looking at industry statistics reveals a pattern: deceptively rosy revenue growth, but ample costs accrued for the personnel. And this was only in 2018, before the epidemic when the demand for streaming entertainment exploded and the demand for anime on the global market increased significantly.
Conclusion
The anime for Soul Eater finished more than 10 years ago, which was actually earlier than the manga on which it was based. The anime eventually caught up to the manga around halfway through its run and then diverged in a new direction. As a result, when the manga reached its climax several years later, it had a very different ending than the one in the television series.
About the Soul Eater anime remake possibility, there can’t simply be a second season of Soul Eater, which is why there isn’t one. As it departed too much from the manga by the end of the first season to simply adapt the remaining chapters, the second season would need to have an even more unique basis.
The ideal course of action would be to start over and completely rebuild the series, faithfully adapting the manga as was done with Fullmetal Alchemist, Fruits Basket, and Shaman King.
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