UlasanAnime.com – Understanding Japanese anime DVD and Blu-ray sales figures can be quite complex, often leading to misinterpretations, especially when presented in simplified formats like infographics. The core issue is that these numbers, while seemingly straightforward, represent various aspects of the anime industry, and comparing them directly without considering their context can be misleading.
A common pitfall is treating all sales figures as directly equivalent indicators of revenue or success. This overlooks the diverse financial models and objectives behind different anime productions. The article highlights that DVD/BD sales are indeed meaningful for revenue and profit, but this is only one piece of a larger puzzle that includes many other influencing factors.
The fundamental problem with many analyses, like the infographic mentioned, is comparing dissimilar items – essentially, comparing apples with oranges.
This point is further emphasized by a tangent on the prevalence of poorly designed infographics. The author suggests that many who create or consume infographics lack the foundational data interpretation skills typically taught in academic settings, leading to flawed conclusions.
The article questions how many people commenting on such infographics truly understand the financing of late-night anime, how it contrasts with mainstream series like Bleach, or the mechanics of mixed-media franchises. The author admits to not being an expert but positions themselves as more informed than the average commenter, implying that true experts wouldn’t engage in such superficial discussions.
To clarify the “apples and oranges” analogy, the article breaks down different categories of anime and their relationship with home video sales:
- Content not primarily intended for home video revenue: This category includes long-running shonen series like Bleach, Naruto, and One Piece. Historically, before the widespread adoption of streaming and digital media, people didn’t typically buy TV shows on home video. While movies were an exception due to high theater costs, buying TV episodes was less common. The purpose of these series on home video might be more for casual viewing by children or as a supplementary product rather than a primary revenue driver. The absence of Japanese educational programs in such charts is noted, possibly due to their niche audience.
- Content financed upfront by platforms like WOWOW: These are often rarer productions, sometimes airing as OVAs. For channels like HBO, the goal is achieved once a show like Game of Thrones gains subscribers. Home video sales are then considered a bonus. This is likened to pre-DVD release models of shows like Chappelle’s Show, where the primary revenue stream was secured upfront.
- Content from successful theatrical releases: Major blockbuster movies, like Transformers 3, generate massive revenue from box office sales. Even if their video sales are lower than niche anime, their overall profit is vastly superior. While movies can have significant video sales, their success is primarily measured by theatrical performance. The article notes that while sequels are common, the initial purchase of a movie often assumes the viewer is interested in the entire franchise, even if subsequent installments are less successful.
- Content designed to recoup investment costs: This is particularly relevant for most late-night anime, especially “moe” focused series. These shows aim for a consistent, albeit modest, stream of revenue through home video sales at specific price points. The success of Bakemonogatari and similar series is significant because they exemplify the typical late-night anime business model, where home video publishers often have a substantial stake.
- Content where TV viewership was the primary success metric: Series like Evangelion were considered successes based on TV viewership and advertising revenue alone. However, strong home video sales provided a secondary boost, similar to the model of Chappelle’s Show. This type of success, where home video sales are a significant indicator of fan dedication, is highlighted as a departure from older TV shows that didn’t sell well on home video. The article speculates if this trend indicates a growing obsession among fans, noting that these shows operate in a unique league, with home video sales being only one facet of their overall popularity, similar to how AC Gundams and Pokemons had their purpose served by other media like video games. This category also comprises a large portion of original anime titles.
The author points out that a significant portion of the anime on the infographic are original productions, possibly over-representing them compared to the top Oricon charts. The difficulty for original anime to break through is acknowledged, but the success of titles like Madoka Magica and Nanoha StrikerS is presented as a testament to their special appeal.
This analysis leads to a contemplation of why series like One Piece, Bleach, and Naruto are still heavily discussed in the American anime discourse. The author argues that their relevance, in terms of sales figures and cultural impact beyond their dedicated fanbases, is questionable, comparing them to less-discussed series like Kaiba. The comparison is made to fans using memes at conventions, suggesting that including these long-running, less niche series in broader anime discussions might be as relevant as unrelated pop culture references.
Finally, the author expresses surprise at the absence of Trigun from discussions, especially considering its historically abysmal sales figures. The article contrasts this with Cowboy Bebop, which did achieve significant sales in Japan. This discrepancy raises questions about the differing market dynamics and fan engagement between Japan and America, and why certain series gain traction in one region but not the other, despite potentially similar sales performance in their respective markets.
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