UlasanAnime.com – A question was posed on Twitter regarding the effectiveness of engaging directly with individual fans to encourage support for official releases or to understand what the industry could do to earn their business. While it might seem like a naive approach, the author felt compelled to offer an answer, especially given their limited energy reserves.
The short answer is that such an endeavor is largely naive. This is primarily because, for a considerable period, the industry was essentially comprised of fans themselves. The existence of titles like “Otaku no Video” serves as a testament to this. The nature of anime targeted at otaku is inherently cyclical, revolving around short feedback loops between fans and creators. Concepts like “Chuunibyou,” which only gained widespread recognition in recent years, are already being explored in anime. Numerous examples exist where creators draw inspiration from the works of others and produce new content in appreciation of that body of work.
This dynamic extends to the industry as a whole. Focusing on the US scene, the original “industry” players were all passionate fans. While there were enterprising individuals, both in the US and Japan, the anime scene in the US truly materialized because of shared fandom. This applies to all facets of the industry, from convention organizers and retailers like Rightstuf to individuals involved in remastering classic anime like “Macross.” Therefore, this fan-driven foundation is a fundamental baseline that must be acknowledged.
Naturally, this historical context is not common knowledge. Individuals who download anime solely for viewing purposes may not be concerned with these origins. Nevertheless, they are integral to the ongoing dialogue about the industry and fandom, just as much as a dedicated fan now employed by a major anime company. In an ideal, democratic discourse, opinions should be valued based on their inherent merit, and this should hold true for all participants.
As previously implied, understanding what fans desire is not an insurmountable challenge. The community has been effectively catering to its own needs for a long time. Simply asking ardent fans and major consumers about their preferences will reveal their desires, which, in the absence of a better term, can be described as insatiable. It is also important to solicit input from the broader audience, those who consume anime more casually, perhaps only watching a few shows per season. Even as dedicated fans, their opinions hold value, and it’s crucial to avoid an overly elitist perspective. Recognizing this inclusivity is a key aspect of the dialogue between fans and the industry; the goal is not to exclude anyone, unless their intentions are demonstrably not in good faith.
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So, how can one discern good faith? The community has already been demonstrating it. This extends beyond free, day-one simulcasts, multiple subtitle options, later dubs, Blu-ray and DVD releases, streaming and direct-to-own options, and compatibility with various devices like phones, tablets, and home theater systems. The desire for merchandise also exists, such as a figure to complement a specific anime collectible. Furthermore, fans seek affordable, officially licensed merchandise, like Cospa T-shirts in Western sizes that are reasonably priced, and subscription services for anime streaming that are under a certain monthly threshold. The list of such desires is extensive and can be added to by many.
While this represents a starting point, it’s evident that many of these demands are complex and challenging to fulfill. Some might even be considered impossible, though an optimistic outlook can be maintained. Conversely, some demands are relatively straightforward. Upon deeper examination, many of these requests are not as impractical as they might initially appear.
The truth is, if individuals approach this dialogue with genuine good faith and clearly communicate the realities of the situation, fans will likely understand. Phrases like “support the creator” often serve as euphemisms for the less comfortable truth: that producing anime requires significant financial investment, and this capital must originate from somewhere. It’s a diplomatic way of framing the issue. It’s generally accepted that a portion of the revenue must go to the service providers if a certain standard of quality is to be maintained. Naturally, this necessitates a reciprocal commitment from vendors to uphold specific standards and deliver value that aligns with the ever-expanding wishlist of consumers.
Simultaneously, it’s important to acknowledge that fans can sometimes overstep, creating difficulties for industry professionals who extend an olive branch to those with genuine opinions about the content they love. The debates surrounding fansubs and the sub vs. dub argument have often devolved into negativity and, arguably, counterproductivity. The entire Crunchyroll situation, while complex, has also been notably counterproductive in some respects.
However, these specific issues may not be of paramount importance in the broader context. Consider Crunchyroll’s established position among viewers of legitimate simulcasts. The desire for Crunchyroll to simulcast everything is understandable; the platform offers a superior delivery system compared to others. Its pricing is perceived as fair, and the user experience is generally positive. This success is a significant indicator of how they have influenced consumer perceptions and how their business model, which directly competes with piracy, has proven effective.
It is within the realm of collective desires that companies, whether in the anime industry or elsewhere, must strive to innovate. Five years ago, the idea of watching all new anime on Crunchyroll might have seemed far-fetched, yet the demand for “0-day fansubs” persisted. Many fans choose to purchase anime from specific distributors like FUNimation due to trust in the brand and their localization practices, rather than from other companies. In this author’s view, it is precisely in these areas that the industry must actively engage, through both communication and action, to add value to a fandom that has proven its self-sufficiency.
In essence, fans need to respect the industry’s value, while the industry must acknowledge fandom’s resourcefulness in being self-sufficient. This is the core motivation. If intentions are not all-encompassing or compatible, success will be elusive.
It is more beneficial to view these interactions as opportunities rather than obligations, especially considering that fandom predates the established anime industry in many regions. Typically, demand precedes supply, and necessity serves as the mother of invention. Fans and the industry, though not strictly beholden to each other, are independently better positioned to thrive through collaboration. If a company’s profile positions it as a gatekeeper rather than a value-adder to fandom, it should not expect consumer loyalty or sustained revenue streams, which, as Jeff Bezos might put it, are ripe for disruption. This disruption could occur within months or take decades, but it is inevitable.
Therefore, it indeed does not require a genius to ascertain what fans want. It requires significantly more insight to understand what fans themselves do not yet realize they want and to deliver it to them.
