UlasanAnime.com – The discussion around anime localization often centers on whether dubbing offers intangible benefits, especially in an era where many shows are released in the US as sub-only. However, this perspective might be too narrow. Ultimately, the quality and extent of a show’s production, including its localization, are directly tied to the financial investment made. If dubbing becomes financially unfeasible, it’s an unfortunate outcome, but the value of a dub extends beyond the audio track itself.
This means that when production costs are cut, dubbing is not the only element that suffers. The core argument here is the often-underestimated value of marketing.
For many, marketing’s worth diminishes beyond a certain point. Yet, this perspective also implies that the marketing challenges I’ve begun to outline will persist if no funds are allocated to them. The impact of marketing goes far beyond simple advertisements, sending out review copies, or partnering with retailers to send postcards to their VIP customers. For individuals like myself, marketing benefits are often experienced through convention partnerships and encountering favorite creators at these events.
But the significance of marketing doesn’t end there. Let’s consider two fundamental points.
First, we must recognize that much of today’s popular media is inherently commercial. While it’s remarkable to see phenomena like Homestuck or Touhou occupy significant cultural space online and at conventions, these are exceptions. Marketing plays a crucial role in fostering such widespread recognition. If we were to map the ideas and memes circulating in popular culture online, a substantial portion would be commercial in origin. While this map isn’t a perfect representation, it serves as a proxy to illustrate how commercial entities dominate online spaces. Many of these platforms are utilized for marketing purposes, with users engaging through reading, posting, and networking. When marketing efforts are reduced, this engagement naturally declines, even if it’s an artificially stimulated phenomenon.
A prime example is Strike Witches’ “War On Pants” marketing campaign. It was catchy and effective in raising awareness for the title among a largely unfamiliar American audience. While its exact success is unknown, the title’s sales were likely sufficient to warrant a re-release of the first season’s Blu-ray by FUNimation. This was a purely localized creation, and such efforts contribute to the rich tapestry of internet culture. It’s a far cry from events like the Ufotable cafe or specific doujinshi circles. However, considering that Funimation comprises voice actors, graphic designers, marketing professionals, video specialists, and business personnel, they possess the potential to create innovative promotional strategies if they choose to apply their minds to it. Under the umbrella of brand management, there are numerous arsenals and creative avenues available to both fans and companies to contribute to promotion, many of which remain untapped.
Second, dubbing, and by extension, larger localization efforts, significantly aid marketing. It’s one thing to feature dub actors at local conventions to promote a new dub, but it’s another to leverage their existing fan base. If a voice actor has worked on multiple shows, their fans are more likely to purchase those shows. This may not seem substantial, but considering domestic DVD sales in the four-digit range, a few hundred units can easily be moved at conventions like Otakon or Anime Expo through autograph sessions or other promotional activities. Furthermore, every time a convention promotes a guest, the associated show receives a nod, and with dozens of conventions across North America annually, this exposure is invaluable. In essence, dub actors also function as public relations representatives, driving sales for the shows they are involved in.
The convention circuit is precisely where my personal frustration stems from. I appreciate the marketing efforts of companies like Aniplex, NIS America, and Right Stuf. Through their campaigns, opportunities for real-life meet-and-greets with personalities such as Yui Horie, Tatsuo Sato, and Ai Nonaka were made possible. It represents a significant loss for some of us when the US industry scaled back these initiatives, though it might not be a major concern for the majority. Conversely, it’s difficult to ascertain whether such opportunities would have arisen without the financial backing of these companies.
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The implications of low-cost localization became starkly apparent when I observed the treatment of K-ON!. It’s safe to say that K-ON! achieved considerable mainstream success in Japan. While this doesn’t guarantee its success outside of America, it feels like a missed opportunity to see such a title languish in Sentai Filmworks’ library with minimal marketing. K-ON! receives comparable marketing to titles like Book of Bantorra or Oblivion Island, perhaps even less than the latter. It hasn’t been given a genuine chance to thrive in an environment where robust marketing is essential. Word-of-mouth promotion has its limitations. Another point of comparison regarding K-ON! is its marketing under Bandai versus its current marketing. Ultimately, it appears that for various reasons, the series is significantly under-promoted.
