By now, it’s become common knowledge that the production of Arcane‘s two seasons has racked up a staggering cost of $250 million. In a striking comparison, one anime creator asserts that the budget for just a single season of this League of Legends spin-off could have financed an incredible 25 seasons of his own beloved series.
Thomas Astruc, the innovative creator and director behind Miraculous: Tales of Ladybug & Cat Noir, recently expressed his thoughts on this topic in a Twitter post. He provocatively stated, “one season of Arcane costs 25 seasons of Miraculous,” highlighting the immense financial disparity in animation production.
A fan posed an intriguing question: “What would you do differently if we gave you an Arcane level budget, and no limits on what the script would be like?” In a candid response that hints at Arcane’s limited episode count, Astruc replied, “You do the best you can with what you’re given. With a $250M budget, Miraculous would probably be very different. However, I wouldn’t feel comfortable to pour such an insane amount of money into just two seasons.” His statement reflects a desire for more content to match the lavish investment.
The Arcane showrunners have been open about their decision to conclude the series after just two seasons. Given that several team members have dedicated nearly a decade of their lives to this project, they believe it’s time to explore new creative avenues and move forward.
Astruc also took the opportunity to shed some light on the broader animation industry dynamics. He pointed out, “Miraculous has a very high budget compared to Japanese series and a high budget compared to French series, but a very low budget compared to any US series. And any US series has a very low budget compared to Arcane, apparently.” This underscores the vast financial contrasts within the industry.
In response to a comment about the importance of passion and quality in animation, Altruc countered that “All animation workers are passionate and want to deliver quality work. The only difference lies in the time allocated to them and the workload they carry. These two critical factors are dictated by the budget.” His insights emphasize the significant role that financial resources play in the animation sector.
This perspective aligns closely with thoughts from showrunner Alex Yee. He expressed, “You have artists who we wanted to have the time to truly infuse their personal touches into the work. The investment allows various disciplines to showcase their best abilities.” He told GamesRadar that, “In many ways, the funding reflects the extensive effort poured into this ambitious project.”
If you’ve already watched all the Arcane episodes out now, why not check out some of the best anime series you could watch right now.
How do you see the animation industry evolving in terms of budget allocation for creative projects?
**Interview with Thomas Astruc: Animation Budgets and Creative Choices**
**Editor:** Thomas, thank you for joining us today. Your recent comments on the budget disparity between *Arcane* and *Miraculous: Tales of Ladybug & Cat Noir* have sparked quite a conversation. Can you elaborate on your perspective regarding the $250 million budget for *Arcane*?
**Thomas Astruc:** Absolutely, and thanks for having me! When I said that one season of *Arcane* could finance 25 seasons of *Miraculous*, it really highlights how different our worlds can be in animation. The scale and ambition of *Arcane* are impressive, but from my standpoint, it raises questions about how that money could have been utilized differently in terms of storytelling and content.
**Editor:** That’s a fascinating point. You mentioned in your response to a fan that with such a budget, *Miraculous* would look very different. Can you share what changes you would consider making?
**Thomas Astruc:** If *Miraculous* had an *Arcane*-level budget, I would focus on expanding the universe and deepening the characters’ arcs. With more resources, we could explore different storylines, themes, and even animation styles. However, I still believe in creating a sustainable model; pouring vast sums into just a handful of episodes doesn’t seem comfortable to me.
**Editor:** Many fans are curious why *Arcane* has chosen to conclude after just two seasons. Do you think that decision was influenced by the scale of production?
**Thomas Astruc:** That’s a possibility. The dedication and hard work that went into *Arcane* over nearly a decade must have been immense. Sometimes, creators feel they’ve said what they wanted to say, and it’s time to pivot to new projects. It’s crucial to strike a balance between ambition and sustainability, both in storytelling and production.
**Editor:** as a creator, what does the future hold for you? Are there ideas you’re eager to pursue next?
**Thomas Astruc:** I always have new ideas bubbling! But I think it’s essential to learn from the successes and challenges of each project. I want to keep exploring different narratives and perhaps lean into collaborations that allow more flexibility in storytelling and production. The animation landscape is ever-evolving, and I’m excited for where it’s headed.
**Editor:** Thank you, Thomas! Your insights on animation budgets and creative storytelling are valuable, and we look forward to seeing what you create next.
**Thomas Astruc:** Thank you! It was a pleasure to discuss these important topics.
