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[150] The following table lists the annual content revenue from Attack on Titan media in Japan. Year Media content revenue in Japan Notes[c] Ref 2013 ¥14,700,000,000 ($151,000,000) Physical and digital media [151] 2014 ¥13,000,000,000 ($123,000,000) Physical and digital media [152] 2015 ¥7,308,359,519 ($60,377,697) Physical media only [153] 2016 ¥3,845,406,579 ($35,346,117) Physical media only [154] 2017 ¥4,196,052,143 ($37,409,258) Physical media only [155] 2018 ¥3,137,123,693 ($27,968,544) Physical media only [156] 2019 ¥2,598,783,077 ($23,839,933) Physical media only [157] 2020 ¥2,460,695,769 ($23,045,707) Physical media only [158] 2013 to 2020 ¥51,246,420,780+ ($482,716,387+) Critical response Many have analyzed Attack on Titan as representing "the hopelessness felt by young people in today's society". [2] Writer Mao Yamawaki called it a "coming-of-age story of the boys and girls at its core", with a new mystery every episode. It is these mysteries that critic Tomofusa Kure said amplifies readers' expectations. The artwork of the manga has been criticized as crude by some reviewers, with Isayama himself admitting his drawings are "amateurish". However, those same
critics stated that after years of serialization, the art has been improving, and Kure believes that had the illustrations been "refined", it would not have conveyed the "eeriness" that is a key characteristic of the work. [2] In a short review, Jason Thompson noted how the characters conveniently receive "power-ups" to create plot twists, but concluded that these plot twists and the manga's post-apocalyptic world are "too good to miss". [159] Attack on Titan has gained a strong popularity not only in Japan, but also throughout the world. [160] For instance, coverage of the anime
appeared on the front page of the Hong Kong free newspaper am730 on May 27, 2013, concerning its popularity within Hong Kong as well as in mainland China and Taiwan. [161] The series also attracted criticism: the South Korean Electronic Times magazine accused Attack on Titan of having a militaristic message that serves Japanese Prime Minister Shinzo Abe's political leanings. [162] Hong Kong media commentator Wong Yeung-tat praised Isayama's style and the versatility of Attack on Titan's setting, which opens itself to readers' various interpretations.
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