UlasanAnime.com – How often do we find ourselves rewatching content, and to what extent does the anticipation of the unknown drive our consumer decisions, or lack thereof? The more I contemplate this, the more I realize two intriguing points. Initially, my answers to these questions seem to merely reinforce the presumed value within a broader economic framework, but it appears they can also shed light on more substantial queries. For instance, what commonalities do well-received anime series share?
The questions surrounding rewatching and the motivations behind watching or purchasing shows we haven’t yet seen are, I believe, inextricably linked because the same underlying mechanisms play a role in answering both. One perspective is the straightforward, common-sense notion that a truly great show is worth revisiting. In some instances, this might mean pulling out your copy of Haibane Renmei to soothe your melancholic soul on a snowy Saturday afternoon. In another context, it could be purchasing Cowboy Bebop to rewatch, but also to have it in your collection so others can experience it. In both scenarios, we are essentially utilizing what people buy home video for.
The driving forces behind our pursuit of new, unviewed material seem to differ. For many bloggers, it often means staying abreast of the latest releases and discerning whether these new anime possess any merit. As long as new anime continues to be produced, it will naturally find its audience, and people will gravitate towards new content. For some, the sole reason for watching new material is its perceived quality—that it stands on par with older, “good” shows (where “good” signifies possessing one or more desirable attributes). Many individuals base their purchasing decisions for new shows on this very standard. Occasionally, some of us happen upon new series by chance.
However, the underlying pattern in both scenarios is a matrix between quality and sharing. For some, the pursuit of novelty is a qualitative matter: we dislike cliffhangers and unresolved questions. For others, it’s about finding more of the same: “good” shows, or shows with attributes they favor. Furthermore, the process of blogging, contributing to fan consensus, or simply discussing a show that sparks your interest generates further interest in that particular show. It raises awareness of its existence, which in turn cultivates a desire to watch it.
Consequently, a “good” show that is consistently discussed is inherently the one that will garner the most viewership. Evangelion comes to mind. A show that nobody talks about, and is of poor quality, will not be watched. I could probably name some examples, but that would hardly do justice to those obscure and subpar shows.
This is likely common sense as well. But what’s truly fascinating now is how we can subtly adjust the parameters of “Interest” (to signify what makes sharing likely) and “Quality” to explain other observable phenomena. Consider the immense popularity of Naruto or DBZ. Or ponder why Kirameki Project remains obscure. Reflect on the significance of the first episode. Consider the importance of conveying the “right” “vibe.” Think about how to effectively market a show to its intended audience.
From my perspective, after all this analysis, it seems to comprehensively describe my anime viewing habits. The reason I watch a considerable number of new TV fansubs is that “newness” is a qualitative trait I seek in shows—staying updated on the scene’s developments and emerging trends. It also reflects a preference for certain art styles, as I don’t particularly care for some retro-looking animation styles.
What’s particularly interesting is that shows themselves can cultivate “Quality” elements. For example, watching the 16 episodes of Simoun creates an intensely strong desire to discover what happens next. For some, the first two episodes of Fushigi Yuugi might have achieved the same, albeit to a lesser degree. The same applies to the initial episodes of Initial D. The “pilot” effect is potent when combined with such compelling hooks. Some viewers actively seek out this kind of quality as a desirable trait. Works can elicit various responses from us, and some of these responses are actively desired. A very funny show is naturally qualified by its humor or jokes. It might even employ tongue-in-cheek humor, but as a general rule, not many people can appreciate it to the same extent as more overt traits.
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There are also areas where “Quality” and “Interest” intersect. These elements, both qualitative and external to a show, are where the most exceptional shows and franchises tend to excel. I suspect that the “perfect storm” rationale behind Suzumiya Haruhi‘s monumental popularity is a confluence of hitting viewers with the right qualitative traits (high production value, excellent voice acting, compelling music, appropriate genre) and certain less qualitative aspects: such as capturing a significant and vocal segment of the fanbase; employing a broad appeal rather than a narrow, element-specific one; and benefiting from the right amount and type of marketing (arguably during a market lull).
On the “Interest” side, which tends to be external, we obviously have the right kind of marketing. The involvement of someone like Samuel L. Jackson, for instance, or the name GAINAX. “Shoujo” can be a potent keyword in the North American market, as another example. Even having the right opening or ending song performed by the appropriate artists can make a significant difference, though this might also be considered a qualitative aspect.
A strong fan interest begets more fan interest. Hype generates hype. Suiseiseki is not merely a lonely doll but the emblem of an army. VIPPERs. Dancing VIPPERs. SaiMoe. Animesuki forums. Anime conventions. Comiket. 2ch. And many others. All these are contributing factors, “Interests” that propel people towards buying, watching, rewatching, or discovering shows. It could be simple word-of-mouth. It might be hype. It could even be that a person sees images from a new show for the first time and becomes intrigued.
This blog entry feels like a double whammy.
Because I’m about to delve into something slightly different, building upon the concepts I’ve outlined: the impact of your non-economic decisions that can influence what you purchase, what you rewatch, or a combination of both.
Imagine you watch a lot of anime—around 15 hours per week. Let’s further assume that financial constraints are not an issue: you’re doing well with ample disposable income to purchase enough DVDs to cover 10 hours of viewing weekly (which isn’t particularly difficult, when you consider it); the remaining gap can be filled by a Netflix subscription or a similar service. However, there are plenty of shows you enjoy, and you could opt for fansubs if that’s your preference. You know where to obtain them, even raw versions. The option to visit a local anime club to fulfill a few hours of your viewing quota also exists.
For a show with a burgeoning, large fan following that begins airing, you read extensively about it, and it piques your interest. You see fan art and promotional material, and you like what you see. You find the inevitable fansubs shortly after the show begins airing. Let’s call this anime Whitewashed Chemist Hikaru. You’ve even heard that there might be a swift licensing plan for this show from a major local distributor, who could secure its airing rights.
There’s another show, Fate Clannon, which is being released on DVD in your local region. You watched it via fansubs while it was airing in Japan and found it quite entertaining; the girls were cute, the guys were cool, and the story was tolerable, especially considering it was an adaptation of a TEROGE. You routinely encounter impressive fan art from this show because it also boasts a substantial Japanese fanbase, though not as prominent locally.
You know this show is somewhat flawed, but it holds a special place in your heart. Guranouta has its dedicated followers, enough to sustain a healthy stream of fansubs. You don’t anticipate it being licensed anytime soon, but who knows in this day and age? However, because you like this show so much, you’re considering importing it, as the R2 DVDs come with various desirable bonuses.
Finally, there’s a show that appears interesting but requires a bit more investment to get into. Simunkoku Rumble. The series is epic and serious, yet punctuated by memorable moments of laughter and suspense. It seems like a significant commitment, though, given its high episode count. This applies to both purchasing and watching. It’s questionable how well this show holds up to rewatching, partly due to its length and partly because much of its appeal lies in the surprise and tension each new episode delivers.
Whitewashed Chemist Hikaru is a show that possesses both high interest and quality content. Its popularity is virtually guaranteed, and it will be well-received. Its rewatchability will depend on specific factors, but there’s no cause for concern either way. Fate Clannon, however, is likely to suffer the most from initial exposure and may not hold up well to rewatching or purchasing for those who have already seen it. The elements of interest will likely dissipate once the interested parties have fully experienced it, so to speak. Guranouta, on the other hand, is driven purely by interest, and with sufficient enthusiasm for a topic, it can overcome any foreseeable economic barriers in the market. The challenge lies with shows like Simunkoku Rumble. Its qualitative strengths are overshadowed by a diluted basis of interest, coupled with a higher barrier to entry because it demands considerable time and viewer commitment for the content-generated interest to take hold.
In a way, this illustrates how challenging it might be to get a show like Fushigi Yuugi licensed. Or Twelve Kingdoms. Conversely, strong pre-existing market interest necessarily means that franchises within the same series tend to exhibit weaker qualitative elements, as they can rely on simply supplementing the existing goodwill with what they perceive as important to the franchise.
The conclusion of this discussion leads us to Kanon. In less than three weeks, we will witness the unfolding of an anime series that:
- Possesses a significant pre-existing fanbase.
- Exhibits numerous pure qualitative strengths (production value, voice acting, music, etc.).
- Is a “sequel” where the distinguishing factor lies in qualitative strengths, apart from “self-generated” qualitative enjoyment derived from viewer investment of time and effort.
- Has good timing (though I’m not entirely certain about this one).
- Is not a casual commitment.
- For my purposes, it’s a rewatch.
Good or bad? You be the judge.
