UlasanAnime.com – The decision to purchase the special edition of “The Melancholy of Haruhi Suzumiya” volume 1 from Bandai Entertainment USA, a product described as an “expensive brick,” might temporarily distract from deeper concerns. It’s a peculiar irony to seek solace in gnostic pleasures as a means to forget one’s higher purpose.
This post serves as a review of that substantial release. In summary, the significant price increase for the special edition is hardly justified. To provide perspective, the limited edition R2 DVD of episode 00 (volume 1) retailed for 4600 yen, while volumes 2-5, also limited editions, were priced at 6600 yen each. Volume 7’s limited edition was 4600 yen. At an exchange rate of 110 yen to the dollar, this approximates to only $60-70 per volume at MSRP, which, when multiplied by four, roughly matches the $64.98 price tag for the R1 release. Even with a $5 discount on volumes 2-4 of the R1 version, one is left questioning the value received for the expenditure.
Perhaps the realization is slow to dawn, but when Bandai altered the broadcast order, it either went unnoticed or was forgotten despite a pre-order for the box set. The author had even anticipated this specific arrangement.
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Ultimately, buyer’s remorse is the prevailing sentiment. However, the primary cause is not the quality of the DVD or the R1 release, which were actually quite good. The dub was particularly well-received, although Ryoko’s voice remained a point of contention, and the overall production quality was solid. The extras were satisfactory, and the box itself was deemed “neat.” The true disappointment stemmed from the box’s design, which felt uninspired. There seemed to be a lack of consideration for aesthetic appeal or the intended purpose of a premium collector’s item. The inclusion of magnets, while functional, hardly justified the additional $30. The design gives the impression of a mechanically sound box that was haphazardly adorned with official images, some of which could be considered spoilers, without regard for the overall visual coherence or theme.
This aesthetic critique pales in comparison to the contents within the box. While the author is not particularly fond of “worthless trinkets” like iron-on patches or ribbons, a slight preference for the ribbon exists. Art collections, such as pencil boards or postcards, are more appealing, but even these only mildly pique collector’s interest unless they are by an artist like Range Murata. Upon opening the box, a feeling of having been “ripped off” surfaces, a sentiment that sadly confirms the suspicion of being exploited as a fan.
On a positive note, Bandai executed one aspect of the packaging exceptionally well: the inclusion of the CD single, notably by releasing it for individual sale concurrently. This decision was met with considerable satisfaction, leading to the separate purchase of the Hare Hare Yukai US release due to its affordability and the sheer pleasure derived from such an option.
This approach effectively negates any compelling reason to acquire the less appealing box sets that offer little of substantial value.
The author expresses a wish for more releases to follow the model of “Scrapped Princess,” whose limited edition box sets were highly commendable. To capture the author’s “otaku dollars,” reliance on the common collector’s mentality, prevalent among many peers, is insufficient. The author is more than willing to purchase subsequent volumes in a simpler, DVD-only format.
