UlasanAnime.com – A recent Funimation survey prompted a reflection on how the term “Anime” might be perceived by those new to purchasing Japanese media. The author observed a significant increase in direct overseas spending on anime-related content over the years. This trend is partly attributed to a slowdown in the North American licensing scene since approximately 2007, leading to fewer new anime releases. Additionally, there’s a growing expenditure on anime-related media such as seiyuu event Blu-rays and even OAVs or other merchandise directly from Japan, exemplified by purchases like the Kara no Kyoukai box set and Aniplex’s Kenshin re-releases.
This shift presents challenges for American publishers like Funimation. While a contingent of importers has always existed within the anime fandom, the increasing popularity and mainstream exposure of anime naturally expand this group. As fans mature and gain financial independence, their purchasing habits may evolve, potentially leading some to move away from English dubs or explore other avenues of consumption. This evolving consumer base appears to be the target for Aniplex’s import strategy, which involves offering discounted imported releases.
Technological advancements have removed previous barriers to international purchasing, with logistics also improving significantly. The rise of former fansubbers working on official projects further facilitates this trend. The primary challenge for companies now lies in developing business models that can effectively engage this segment of consumers without alienating established markets or devaluing titles internationally.
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This phenomenon can be compared to how consumer choices evolve with financial capacity. Just as individuals might opt for a practical car in their youth and a luxury vehicle later in life, anime fans with greater disposable income may seek out different value propositions. These can range from perceived collector’s value to the convenience of digital access versus physical ownership. While these are often presented as opposing concepts, the reality is that anime fans are increasingly able to enjoy the benefits of both.
The ability to access a vast library of anime through piracy, coupled with the willingness to purchase specific items, allows fans to curate a collection of desirable physical media while also having readily available digital access to consumed content. The main obstacles to achieving this balance are knowledge, availability, and cost.
Availability and cost are generally familiar concerns for consumers, with cost being a particularly significant factor. The proliferation of commercial proxies, both for consumer services and digital platforms like PayPal or PSN, has largely addressed availability issues. Services like Mandarake now offering online sales have further improved the situation, making it easier for fans to acquire desired items.
However, “know-how” remains crucial due to the fragmented nature of anime information distribution. A substantial portion of web-based media and promotion focuses on disseminating information broadly. This often leads to reliance on secondary sources, with publications sometimes citing Japanese blogs or forums for news rather than conducting original reporting. The limited resources for in-depth journalism mean that many outlets function more like information conduits, relaying press releases and translated content.
Even within Japan, the sheer volume of fan channels, blogs, social media accounts, and forums makes it challenging to sift through news and information. When this complexity is amplified by the physical and cultural distance to the US fan scene, the lack of comprehensive coverage becomes apparent. It has reached a point where some observers believe that anime news sites in the US are doing a better job covering Japanese events than domestic ones.
Anime publishers in the US, particularly companies like Funimation, could significantly improve their engagement in this area. Despite their size and extensive catalog, their presence and influence on social media often seem disproportionate. The author questions what steps these companies can take to enhance their “festive” engagement with the fanbase.
[PS: The technical aspect of “know-how” is also important, as evidenced by the creation of tools like CCCP and the recognition by publications like Ars Technica of the need for robust storage and transcoding solutions. This also relates to the underlying reasons for communities like 4chan’s existence.]
