At 5/5/08 07:51 PM, Gendo wrote:
I don't really have a clue.
I am more than certain that you and some others have arrived at this conclusion; it is the typical sales-driven reason that Shonen Jump and other serialized comic compilations (Other examples: CoroCoro, Young Animal, etc...) have.
If a story has caught customer attention, it would be plain common sense to drag it on for all it's worth while, at the same time, trying to maintain the quality and feel of the series. I have not worked for said magazines myself, though I am sure that they have some form of contract.
Artists who are just starting off (such as Kishimoto Masashi back in late 1999) are not likely to have a full storyboard or script in mind to work with so they would have no idea when to stop or how to self-propose a contract.
From a personal perspective, it only makes sense to have a renewable contract to maintain a source of income, unless one has a backup plan to sustain themselves (another contract outside their current company, for instance). The economy in Japan is extremely competitive and it would be no surprise that those responsible for JUMP and the like are pressuring artists to keep with them or lose their job to another willing candidate.
In these cases, the deteoriation in quality of some comics will become noticable over time or even overnight for all kinds of reasons (personal, social, etc...). The same applies when profits are attempted to be made through animating a series or through games and merchandising. As we can tell, the quality of most 'dragged-on' series are questionable, especially if they are leaving the job in the hands of not-so-well-off studios like Pierrot (as opposed to, let's say, Satelite or Madhouse).
Of course, this is just a generalization and exceptions are not only possible, but welcome.
Long story short: It is a shame and a disappointment to see initially shown perfection and style become ridiculous and outright stupid over time.