>>43209
The heroine is cute, but the premise would only be good if this was the first thing GLITCH made. Plus, something about her design makes her look older than she likely is.
The company is pigeonholing itself into the trend of cute things being creepy. It's part of their branding, but they need to use the money from TADC to expand operations by choosing a growth strategy, either make more seasons for existing series like Sunset Paradise or Murder Drones while introducing new series or making new series that are within their target demographic and general tone but aren't so similar as to be hard to differentiate.
While they weren't graphically impressive, Meta Runner had episode per week every season. Seasons one and two had a 12 month break between them, and seasons two and three had an extra six months separating them because of the Murder Drones pilot. 2021 had one season of Sunset Paradise to cover the peak months of summer. It wasn't graphically impressive either, but it followed the same schedule as a season of MR. MR and SP started regular production very soon after their pilots were released, but MD took one year for its first non-pilot episode. After that, it produced episodes bi-monthly through episode 6. Episode 7 took seven months because of the Amazing Digital Circus pilot, giving the impression, based on what it did for season 3 of MR, that the finale would release two months later. Instead, the finale took five months because episode 2 of TADC released. This would be forgivable if Knights of Guinevere wasn't being animated completely in 2D. If we assume this gap follows the same trend as previous series, adding 3 months between episodes, the release date of episode 5 of TADC is pushed to sometime in April, but the switch to 2D animation may cause a greater delay.
This is bad for business because TADC recently began a bimonthly release schedule reflective of MD and has no end in sight, lacking MD's footing and direction while bringing the studio a drove of new fans who want content in a timely manner because they aren't used to the schedule of the studio's higher fidelity projects as established by MD. The studio has nothing to appeal to them other than merchandise promotions and its back catalog, much of which may be outside of the age range attracted by TADC. The most forthcoming remedy is to increase monetization either through the release of supplemental content or a partnership with a streaming service. However, TADC's Netflix partnership brings no money for GLITCH other than, I assume, a profit sharing scheme, and its manga is only an adaptation. GLITCH's most promising revenue stream is, in my opinion, Glitch Inn. However, its current implementation is a site acting as an alternative to Patreon to prevent a middle man between the studio and payment processors. The only benefits its subscription provides are behind the scenes content and a Discord server.
To make a sustainable brand, people need to be able to inundate themselves with supplementary content. While it's often pointed to as a bad thing, the thought that a brand needs to be a religion isn't entirely wrong. To stay afloat, a brand needs zealots, consumers who would be willing to spend any amount of money, and this is something achieved through a variety of methods. GLITCH has the chance for this with TADC, but it seems to not have the acumen or willpower to do it. This may be because Gooseworx lacks a plan for the studio's most profitable series. MD's creator has the zeal to make content for the show forever and created prototypes of it for years beforehand, animating two pilots for different series which could be remade and expanded with GLITCH.
Without funding independent from TADC's animated content, GLITCH's future is tied to its success to fund endeavors like KoG until another popular series is made. In contrast, GLITCH's only competitor has a faster release schedule because of its regular funding from a subscription service, but it lacks market resistance and a variety of properties due to its reliance on a single creative vision.