UlasanAnime.com – The discussion around reverse importing anime, particularly Blu-ray and DVD releases, has become a significant topic among fans, prompting questions about its morality and practicality. This practice involves purchasing legitimate physical media from regions where it is sold at a lower price, bypassing local distribution and pricing structures.
The impetus for this conversation often stems from stark price differences. As highlighted by Mike Toole, the cost of acquiring a complete series like Madoka on Blu-ray in one region can be substantially higher than in another, leading fans to explore alternative purchasing options.
Twitter anime nerds: do you think it’s immoral or otherwise dodgy to import cheaper legit DVD/BD from outside of your local region?
From a personal perspective, the concept of “international citizen” resonates deeply, influencing how one approaches media consumption. Growing up as an immigrant often meant having a broader access to media than the average local. This included consuming content in various languages and formats, such as Chinese-dubbed or subbed anime. The willingness to tolerate less-than-ideal viewing experiences, like watching subtitled content from different regions, is not dissimilar to the effort required to import from Japan itself.
In many cases, the last significant imports from other English-speaking regions have been for niche titles, such as Studio Ghibli films like “Ocean Waves” and “Omoide Poroporo,” which were eventually released in the US. The availability of Blu-ray releases in Japan, even if older formats like DVDs were acquired elsewhere, underscores the evolving landscape of media formats and regional availability.
In the current digital age, with widespread internet access and online communities, region locks often feel like a minor impediment. The global nature of anime fandom means that many enthusiasts are well-informed about international releases and are adept at navigating the complexities of importing.
Anime is inherently an international product, a fact that is sometimes overlooked by consumers who engage with it solely within their local context. Understanding its origins, cultural background, and the specific reasons behind its creation provides a richer appreciation. The existence of an international market for anime is as natural as the flow of labor across borders, driven by demand and accessibility.
Unlike illegal immigration, which involves complex legal and social issues, region locking and similar business practices are often seen as remnants of outdated business models that predate the era of globalization. They are not based on inherent rights but rather on a human-made system that attempts to artificially segment markets. The ethical consideration, therefore, shifts from the “naturalness” of the practice to the practicalities of enforcement and the pursuit of the most rational option.
The segmentation of markets through region locking can be viewed as a “boorish” business practice, particularly when considering the realities of piracy in emerging economies. While the issue is multifaceted, the 21st century has brought about a new landscape. Billions of people in Asia and South America are increasingly connected through social media, affordable computing devices, and broadband internet. This connectivity, coupled with growing wealth and leisure time, naturally leads to increased consumption and demand for global products.
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Emerging economies are indeed emerging, and to restrict access to legitimate media based on arbitrary regional boundaries can be seen as counterproductive. Ethically, allowing people to purchase products legally, as long as it does not cause harm, is a more progressive approach. Furthermore, copyright laws are fundamentally tools designed to facilitate commerce and profit. Employing them in a way that hinders rather than enhances revenue generation, and doing so unethically, is a questionable strategy.
The practical perspective on reverse importing centers on conscious purchasing decisions. For instance, when a highly anticipated series like Nadesico receives a Blu-ray release, a fan might opt for the Japanese import due to the superior quality of the box set, even if it is more expensive than a hypothetical overseas release. The desire for the best possible presentation of a beloved series can justify a higher expenditure.
Conversely, if a similar product with comparable quality and packaging were available from another region at a lower price, many fans would likely choose that option without hesitation. This pragmatic approach mirrors how some Japanese fans might feel about importing anime from America, such as the “Infinite Stratos” series.
The irony of thanking a distributor for not releasing a product in a certain format, thereby forcing an import, highlights a complex dynamic. There is a prevailing sentiment that Japanese premium Blu-ray box sets often surpass the quality of what is typically produced in Western markets. The meticulous attention to detail, the high bitrates on discs, and the overall premium feel of Japanese releases can be a significant draw for dedicated fans willing to invest more for a superior product.
The decision becomes more nuanced in cases like “Fate/Zero,” where the domestic Blu-ray box set was priced higher than importing from Amazon Japan. This scenario sparks debate among fans: some choose to pay the premium to support local retailers, while others believe that importing sends a message to the production companies. The customer service offered by some domestic retailers, such as handling product recalls, can also be a compelling factor for some consumers.
However, many consumers approach purchases without the expectation of needing customer service. For them, the primary driver is the product itself and its value proposition. The experience of attending anime conventions and engaging with creators, who may inquire about where fans purchased their merchandise, adds another layer to this consumer behavior.
The reality of the market is that reverse importing is a well-established practice. If production companies perceive that they are losing money due to this trend, it could influence their future release strategies. The question of whether these losses are significant enough to impact decisions remains a point of discussion, with a lack of concrete evidence often cited.
This dynamic has consequences for both consumers and distributors. While companies like Kadokawa and Nozomi may be seen as victims of this system, they also operate within it. The current model, which prioritizes short-term value extraction over long-term growth, ultimately affects the entire ecosystem, including the consumers who are passionate about the anime they love.
