UlasanAnime.com – The author reflects on the peculiar situation of reselling a limited edition of “Ni no Kuni: Wrath of the White Witch” on eBay after receiving it from Namco Bandai/Digital River. The core of the discussion revolves around the inflated aftermarket prices of limited edition game releases and its comparison to the anime merchandise market.
The author admits to feeling a bit strange about flipping the Wizard’s Edition of “Ni no Kuni” on eBay, especially after receiving it from the publisher. The situation is summarized as a highly limited release of a popular game experiencing a significant markup on resale platforms. The decision to sell was partly driven by a desire to allow those who missed out on legitimate purchases to acquire the game, despite the financial incentive and the appeal of the bonus items.
The author’s initial motivation for acquiring the Wizard’s Edition was to support the “Ninostarter” concept, which aimed to foster a patron-like model for game development, and a personal intention to play the game. While the bonus items were appreciated, the author states they can live without them.
Beyond the personal transaction, the author delves into the broader implications of such pricing, questioning the “moral calculus” of the resale market. The author posits that if Kickstarter is viewed as a micro-patronage model, then initiatives like Ninostarter, which aim to evoke a similar feeling of patronage, might be considered a superficial imitation.
In the US context, $100 for a console game is a considerable sum, though the author acknowledges it falls within the range of other limited editions available. The striking point is that this edition is currently fetching over $350 on eBay.
To provide perspective, the author draws a parallel to the limited edition of “THE iDOLM@STER 2” for PS3, a Japan-only release. This edition, which originally retailed for around 16,000 yen, now commands prices between $250 and $320 after selling out at retail. These two instances are highlighted as the only times the author considered purchasing a game that, even when new, was valued at over $250-$300.
[Is it a coincidence that both are Bamco products? ]
The author then speculates on a hypothetical Kickstarter campaign for a “Ghibli-animated Level 5 RPG.” Such a project, the author believes, would likely garner millions in funding, especially if it offered a $200 tier for a “super ultra KS-only edition” with exclusive bonuses and limited to a small number of copies, including stretch goals. This scenario, the author suggests, is akin to what Ninostarter might have been aiming to explore.
The author acknowledges that a PS3 exclusive JRPG with a strong pedigree likely appeals to a much larger demographic than the Western anime-buying market. However, the question is raised: how does this limited edition game differ from, for instance, a Blu-ray anime release from Aniplex, such as “OreImo”? The author suggests that perhaps consumers are simply more accustomed to purchasing anime at lower price points, or that many console gamers who enjoy anime are not necessarily hardcore DVD collectors.
While not justifying price gouging by Aniplex, the author asserts that a market for expensive limited edition box sets demonstrably exists in America. The author believes the core issue lies in consumer expectations regarding video game pricing, even at collector’s prices, given that video games have long been considered collectible items.
Conversely, the author references an argument that anime on home video in America is priced as a disposable commodity, with much of it losing its value within a few years of release. This leads to the central question: why should this disparity exist when the same audience that enjoys games like “Ni no Kuni” (and by extension, likely enjoys anime) is willing to spend significant amounts when they perceive value?
Furthermore, the author questions why anime companies are not encouraged to elevate the perceived value of anime itself, not just its price. The author uses the analogy of a car, which retains a significant portion of its value over time, or comic books, where a limited edition of a popular title should ideally not become worthless after a decade.
The author concedes that this ideal scenario may not apply to every case, and acknowledges the existence of sought-after R1 releases. However, in those instances, the releasing company may not have captured the full value, leading to a loss of potential. The author suggests that a Kickstarter-style patronage model could bridge this gap.
This model, the author explains, allows for post-retail market forces to adjust prices while also ensuring accessibility for interested consumers. It can simultaneously facilitate pre-retail marketing to enhance value for sellers and licensors, add value for collectors through exclusive rewards, and provide a means for non-collectors to enjoy the product once it eventually reaches retail.
The author wonders why a company like FUNimation has not explored such a tiered release model, speculating about potential logistical or philosophical obstacles. FUNimation currently employs a tiered system, but the author believes it undermines the value of their higher tiers and devalues their limited editions by reducing demand.
PS. The author mentions receiving advice from Zepy, who has insights into retail and video games. Zepy suggested selling the Wizard’s Edition promptly, partly due to the possibility that the game itself might be disappointing. While the author is generally positive about the game’s presentation, they acknowledge the potential for the Wizard’s Edition to increase further in price if the game becomes a major hit. However, the author observes that artificially inflated limited editions often plateau and eventually decline in price, as those who want the game immediately will pay more than those who can wait.
PPS. The author recounts a visit to GameStop to purchase the regular edition of the game. The employee who sold the game highly recommended it and suggested using the English dub. The employee also noted an interesting difference between the Japanese and English dubs: the Japanese version says “ni no kuni,” while the English version translates it as “another world.” The author finds this linguistic distinction amusing, regardless of one’s stance on honorifics or their removal.
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