UlasanAnime.com – The common assumption that paying for media guarantees its continued existence is often challenged by reality. Many franchises that eventually ceased to exist still had paying customers, raising questions about what constitutes “enough” support and whether individual purchasing decisions significantly impact a franchise’s longevity, especially when others are also buying the same product.
However, there are instances where the correlation between perceived cost and profit is exceptionally clear. Downloadable content (DLC) for The Idolmaster (iM@S) serves as a prime example. Recently, an announcement revealed that signing up for the iM@S Visa credit card would grant a 10% discount on all future DLC purchases. While the allure of an iM@S-themed credit card might be a primary motivator for fans, the sheer cost of the DLC itself is a significant revelation.
The PS3 version of iM@S2 included the first three volumes of DLC that were previously available for the Xbox 360 version, totaling approximately 25,000 yen. This represents a substantial amount of money that dedicated fans have spent. This cost even garnered attention from outlets like Kotaku, highlighting its significance. It’s worth noting that this sum exceeds the price of the PS3 iM@S LE box set. With approximately eight DLC volumes released for the Xbox iM@S2 line, imagine the savings a fan with the credit card from the beginning could have achieved, potentially saving around $50, especially considering the game hadn’t even been out for a year.
You might also be interested in : Ghibli Challenge: Arrietty and Graves of the Fireflies
These figures strongly suggest that iM@S is a franchise poised for continued existence, precisely because of its high cost and the unwavering dedication of its buyers. This level of expenditure implies a strong likelihood of ongoing iM@S content for the foreseeable future. For comparison, tickets for the SakuTai Kayo show are considerably less expensive, and that’s just for the Xbox version, which has a smaller reach in Japan compared to the PSN-PS3 combination, which is expected to generate significant revenue.
Understanding the true “value” of iM@S DLC also requires appreciating its inherent attractiveness. This realization dawned on the author only after playing the game and experiencing the strong urge to spend substantial amounts on PSN network cards to acquire all the songs, each priced at 1800 yen.
While the singing tracks for the 12 idols (and a humorous consideration of whether Ami and Mami share the same track) might justify a price point higher than a typical CD single, four such tracks equate to the cost of the game itself. Furthermore, nine of these song purchases are equivalent to the price of the “freaking superduper BD-Game boxset.”
However, the DLC is merely the tip of the iceberg. The author hasn’t even delved into the “G4U nonsense,” which reportedly costs around 8,000 yen per month for nine months. At this rate, purchasing the anime on Blu-ray seems like a modest expense in comparison, and collecting the extensive CD content appears relatively tame.
The list of merchandise continues to grow. It appears that Bandai Namco significantly expanded its merchandise game only after the anime adaptation, venturing beyond their software offerings. The author particularly admires certain merchandise, as seen in the provided link. Given the current pricing strategy, this extensive merchandising strongly implies a highly profitable venture.
Conversely, it is considerably more challenging to ascertain revenue streams when products are inexpensive and sold in high volumes. This applies to titles on the Kindle store, Funimation’s top sellers, and indeed, most anime-related merchandise in America.
