The Madhouse Animation Crisis

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Information to give to the interviewee after Diagram 2 upon request:

• Animation rights per show are sold for $100,000 each.
• Our client has sold all animation rights in this time period to a single buyer, the strongest international competitor Netflix. Madhouse is the only Japanese studio willing to sell animation rights to Netflix at $100,000 apiece.
• No information on how much a single animated show generates in revenue but that is not important for this case.
• No information on how many shows our client animates every year which is again not important for this case.
• The animation market in Japan is not growing as the population is not growing.
• The animation market outside of Japan is growing at 15% every year.

The interviewee should derive the following insights from Diagram 2:

• There is no growth in the Japanese animation market. This implies constant market share as the overall market is not growing.
• There is no sig. growth in the animation market outside of Japan which implies that our client is losing market share in the international market because that market is growing at 15% every year.
• Selling animation rights seems to be a fast-growing business where all our client’s revenue growth is coming from. This could be a business the client should focus on.
• The root cause of the steep profit decline seems to be on the cost side not on the revenue side.

Information to give to the interviewee after Diagram 3 upon request:

• Acquiring rights to a single manga costs $60,000. 10 animation-rights are acquired every year.
• The number of animation-rights acquired has stayed fixed at 10 per year. Costs for acquiring have also remained fixed.
• Animation cost can be assumed to be almost 100% labor cost paid to the animators drawing the individual scenes within the anime show as salaries.
• Our client received an avalanche of resignation letters from their animator staff at the beginning of 2017. The most common reason for leaving was that our animators had found more attractive work in the US.
• Netflix is reaching out to animators in Japan offering them relocation, English courses, cultural integration support and a permanent secure job in the US at about 20 times their current salary.
• Animators in Japan work for about $2-$3 an hour often more than 12 hours a day. The reason they subject themselves to these terrible conditions is the prestige associated with working on one of the popular anime for one of the big Japanese studios.
• Netflix does not just offer 20 times the wage but also normal working hours of 8h a day with only 5 workdays per week.
• Our client has attempted to raise salaries to 17.5 times the original rates to keep their workforce but employees are still resigning. Due to the low number of employees now our client is not able to offer employees less working hours per day but in fact has to increase overtime hours even more on the remaining workforce.
• Netflix tries to get Japanese animators because the customer base that Netflix serves consists to 80% of very knowledgeable fans that prefer the Japanese drawing style which is only professionally taught in Japan. Customers recognize if the anime was animated by Japanese or non-Japanese artists and prefer the original work of Japanese artists.
• All competitors of Madhouse have seen a similar rise in their labor cost due to the action of Netflix.

The interviewee should derive the following insights from Diagram 3:

• Acquisition of rights is flat which might indicate a constant amount of rights acquired each year at a constant cost per right. This is, in fact, true but should be verified by the interviewee by requesting data on changes to either the number of rights acquired during that time period or the cost of acquiring the rights to a single manga.
• The root cause of the profitability problem of the client is the fact that animation cost has grown by $7m. in a single year.
• Given the revenue data, it appears that the animation product line is no longer worth pursuing for Madhouse especially considering that they would still need to increase salaries further from 17.5 times the original to 20 times just to match Netflix in terms of salary. In terms of working conditions due to the high understaffing and the intense overtime, the current workforce has to put in to pick up the slack Madhouse will remain a less attractive option to work for even if Madhouse was to match wages with the ones paid by Netflix.

A good interviewee will ask many qualitative “why” and “how” questions throughout the case to uncover the meaning behind the quantitative data available. Questions such as: “why did the animation cost grow by $7m. in a single year?”, are definitely the right questions to ask here to understand what can be done about this problem. This should be the point where the interviewee switches from Phase 1 (problem isolation) to Phase 2 (problem-solution).

If the interviewee is outstanding you should reply to that example question above by asking: “How could you determine why the labor cost has risen this much?”.

Then you can indicate that the workforce of Madhouse has been shrinking rapidly lately as many animators have been resigning. A great candidate should then proactively suggest that the client ought to investigate why the employees are resigning and ask for the results if this has been done already. At this point, you can reveal that we know the reason why they resign is that Netflix offers them better pay and better working conditions.

If the interviewee does not attempt to understand the qualitative reasons behind the rise in animation cost give them feedback on this later and just share all information you have available on Diagram 3 in the blue box verbally with them and ask them to interpret this information.

The following information can be revealed to the interviewee to verify the hypothesis:

Netflix cannot get rights to manga on their own, which means that they have to rely on Japanese people to get those for them. There are 3 reasons why this is the case:

1) Japanese mangaka are usually just common citizens of Japan who only speak Japanese and prefer to do business with people that share a common language and culture. Netflix does not yet have any experienced native Japanese staff that could negotiate with mangaka.

2) the prestige associated with working for a big animation studio only applies to the big Japanese animation studios. People in Japan generally do not really care about amine created outside of Japan as much.

3) It takes a large amount of experience to be able to pick the manga that has a chance to become popular amongst the hundreds of unsuccessful ones that are published monthly. Netflix does not have the experience to pick successful manga out of the crowd even if they could negotiate with the mangaka.

To test this hypothesis the candidate should indicate that 2 things must be true in order for the hypothesis to be true:

1) Netflix must not be able to acquire rights themselves.

2) Madhouse must be able to acquire rights which are of interest to Netflix and that must remain true in the long run.

The interviewee may assume that condition 2) is met based on the large expertise Madhouse has and the fact that Netflix keeps buying more rights.

Madhouse should stop animating as Netflix will continue to drain talented animators and thus drive up Madhouse’s labor cost if it wants to keep its workforce which is already understaffed. Instead, Madhouse should focus on scouting new manga with high potential to become popular and acquire the rights to animate those. It can then sell those to Netflix. The following 4 reasons support this conclusion:

1) Netflix is willing to pay $100,000 per right which means Madhouse can make a profit of $40,000 for every right they sell making this a product with a 40% profit margin.

2) Netflix is forcing up labor costs so much that Japanese studios can no longer compete as salaries for animators overseas are still way higher than Madhouse offered in 2017 to mitigate the problem. This means that labor costs will have to rise even further for Madhouse to hold on to its remaining staff making animation an unprofitable business.

3) Netflix's capabilities are in producing anime but they lack the ability to acquire animation rights. As Madhouse is the leading studio in Japan with much experience in acquiring animation rights it is able to fulfill the need that Netflix has so further purchases from Netflix are likely to occur.

4) Even if Madhouse stops selling rights to Netflix chances are that Netflix will attempt to get one of the other studios in Japan to sell their rights driving Madhouse potentially completely out of business.

To increase certainty in this recommendation or advise on a more specific recommendation we could:

1) Do a competitor response analysis for a scenario in which Madhouse stops selling rights to Netflix. Will Netflix offer other studios a higher price than $100,000 for rights? Is there a price for which a competitor is willing to sell their rights to Netflix? Are the shows (that our client’s competitors own the rights to animate) of comparable popularity to the portfolio Madhouse has i.e. are competitors able to acquire the best rights before Madhouse can or is Madhouse holding on to the majority of valuable rights? This analysis will help determine how much leverage Madhouse has. If Madhouse acquires rights to most of the popular shows before anybody else does then withholding rights would lower the quality of the shows Netflix can produce which might be enough of a negative pressure to push Netflix out of the anime industry.

2) Analyse the potential for a direct partnership with Netflix as well as a potential merger to ensure that Netflix only buys animation rights from Madhouse. If this is possible then Madhouse should not just exit the animation industry but also start a partnership/merger with Netflix to secure its ability to sell rights at a profit margin of 40%. This margin is likely to fall if other studios in Japan start selling their rights to Netflix so a partnership now may help secure the 40% margin.