UlasanAnime.com – This article delves into the long-standing debate surrounding anime dubs versus subs, exploring the economic and fan-driven factors that influence their production and consumption.
The author begins by referencing a past post and establishing a premise about the average dub audience. During the VHS era, the ratio of sub-to-dub sales was approximately 1:5. This figure, though from over a decade ago, is presented as a ballpark reference for buyer preference, especially when examining pre-DVD era online discussions.
A significant point raised is the stark cost difference in producing a dub compared to a sub. While exact figures are unknown, the author estimates the cost of dubbing to be an order of magnitude higher. This is attributed to various factors, including billing methods (paying actors and producers per SKU for dubs versus per episode for subs) and logistical challenges. Hiring different actors for the same role across episodes is problematic for dubs, unlike subs where different individuals can work on different episodes. Furthermore, the need for actors and ADR personnel to be in the same room for recording adds another layer of complexity and cost to dub production, which is largely a non-issue for subtitling.
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The article then addresses a common misconception: that liking dubs necessarily means disliking subs. The author argues that this is a false dichotomy that has become less relevant with the rise of multi-lingual DVDs. Most fans appreciate both options, and the presence of additional language tracks is generally seen as a positive, regardless of whether it’s Japanese or another language. The author humorously notes that ADV’s Spanish dubs might not have been a purchase motivator for everyone.
A key argument is presented regarding the anime market’s evolution after the “anime bubble” burst in region 1. The author posits that the demographic most affected was those unwilling to purchase sub-only content. The supporting evidence for this claim is the subsequent success of sub-only releases. This suggests that the marginal value of multi-language products has decreased, potentially falling below the value of a sub-only release, especially given relatively fixed prices. In some instances, the cost of producing dubs might even lead to negative profit margins.
The article questions whether the fans who complain about high prices (e.g., $30 per volume) are the same ones who advocate for a “no dub, no sale” stance. While acknowledging a lack of direct evidence, the author suggests that the latter group is likely smaller and has less influence. The price of anime has, in fact, steadily decreased since the market bubble.
The author then highlights Section 23’s “upgrade-to-dub” strategy, particularly for KyoAni x Key titles, as a brilliant business move. This approach allows for re-releases at a higher price point by adding value through an English dub. This strategy caters to collectors seeking upgrades, appeases fans who might otherwise complain, generates goodwill, and opens a new market segment willing to purchase titles with English dubs. Crucially, it mitigates the risk of producing a dub that might not sell.
Using CLANNAD as an example, the author notes that this strategy is particularly effective for extensive anime series. While titles like K-ON or DBZ Kai might not carry the same risks, the ex-ADV approach is deemed “boss.” This model thrives when a company is closely connected to its fanbase, allowing them to effectively manage the overhead costs of such “upgrade” processes. In contrast, the author points to FUNimation’s product cycle (standard, Viridian, SAVE) as a less profitable endeavor. FUNimation, it is argued, spends more resources on different product versions, potentially with the same or lower marginal profits, whereas ADV’s strategy allows them to generate more revenue over time with similar overall effort.
In conclusion, the article suggests that while sub-only releases offer less content for the money, the “no dub, no purchase” stance is logically a primary reason for the initial lack of dubs. For fans who desire dubs, the author offers pragmatic advice: learn to accept and purchase available options, while continuing to voice their desire for dubs to company representatives.
