UlasanAnime.com – In the realm of anime fandom, discussions about localization and pricing often spark passionate debates. This article delves into the complexities of these discussions, exploring the role of niche markets, the freedom of choice for consumers, and the diverse business models required to support the anime industry.
The author begins by acknowledging the perennial nature of certain anime-related debates, such as “dubs vs. subs” and the pricing strategies of companies like Aniplex of America. While admitting to a bias towards more expensive, import-quality releases, the author also buys from lower-priced, high-volume distributors like FUNimation and Sentai Filmworks. This sets the stage for an exploration of the trends and underlying issues that shape the anime market.
A fundamental issue raised is the concept of “freedom of choice.” The author argues that while anime is a form of protected speech in some contexts, its distribution and consumption are subject to restrictions like copyright. The idea that access to anime is a “right” is challenged, with the author suggesting that entitlement, particularly among younger fans, can cloud rational discussions about pricing and availability. The ability to purchase a specific collector’s edition, for instance, is framed not as a right but as a privilege that comes with a price.
Furthermore, the article emphasizes that not all anime are created equal. Production companies, Japanese audiences, and retailers all treat different types of anime differently, from mainstream hits to late-night releases. The author questions why consumers or critics might expect a uniform pricing or release model across such a diverse spectrum of content. Comparing the cost per minute of an OVA to a TV anime, for example, is presented as a flawed comparison that overlooks production realities and market positioning.
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The author posits that a significant failure within the fandom lies in its inability to recognize these two core issues: the distinction between speech rights and market realities, and the inherent inequality in anime production and reception. The author also touches upon the complex corporate structures of Japanese holding companies, suggesting that equating Aniplex of America directly with Sony might be an oversimplification. While it’s understandable to hold off on purchasing a title lacking a dub if that’s a personal requirement, the author also calls out what they perceive as excessive entitlement among some fans.
The article then shifts to the importance of personal preferences and how they should inform release models. Different shows, from popular shonen like Dragon Ball Z and One Piece to niche titles, require distinct approaches. The author suggests that while there’s a range of acceptable release formats for most anime, it’s unreasonable to expect every title to be released in a single, universally preferred manner. The common complaint about Aniplex of America’s pricing is seen by the author as an example of fans imposing their personal preferences as a matter of public good.
Supporting this diversity of release models necessitates a wide array of publishing and retail businesses. While larger companies might subsidize niche releases, the anime market, already niche, relies on various business models to thrive. The author speculates on the profit margins of companies like FUNimation, suggesting that different price points are an unavoidable consequence of this market structure.
The prolonged discussion around Aniplex of America is seen as potentially driven by entitlement to “cheap” anime. While it’s acknowledged that it can be frustrating to be unable to afford a beloved title, the author criticizes the tendency to verbally attack companies for not catering to those who don’t purchase their products. These are ultimately personal opinions, and while expressing dissatisfaction is fair, it should be done without causing undue harm to the industry.
Shifting focus, the article explores a larger trend: the hypothesis that Aniplex of America acts as an agent for Japanese production companies aiming to raise the floor on anime licensing fees. This strategy could be driven by an analysis showing that launching an IP through AoA offers better returns than lowering licensing prices for other distributors. If successful, this approach could enable more anime to be released in local regions, even if it means AoA focuses on titles less likely to be localized by others due to low profitability.
The author questions whether Aniplex of America’s ability to command higher prices and generate additional revenue in the R1 market ultimately benefits the industry. By creating competition and operating in a model that complements, rather than directly competes with, FUNimation and Sentai, AoA could potentially carve out a sustainable niche. This role has historically been occupied by companies like Geneon, though the author is unsure if they pursued it to the same extent. Raising anime prices might serve AoA’s long-term goals, but it’s not necessarily the only path to success.
The marketing effect of such strategies is also considered. The author expresses disappointment with the perceived mishandling of titles like K-ON! in America, suggesting it’s a missed opportunity that doesn’t serve the industry’s long-term interests. While basic releases are functional, they cannot be the sole model, especially for every title. The author views Aniplex’s investment as a welcome development, particularly for shows like Durarara!! and Sword Art Online, which, despite their complexities, benefit from more companies engaging with the North American market beyond just FUNimation.
Beyond direct distribution, the article highlights other areas of growth. Companies like Nozomi, Viki, and Discotek are revitalizing older or underutilized intellectual properties. Streaming platforms such as Viki, Crunchyroll, Crackle, Hulu, and Netflix are expanding access. While the throughput of adult content might have slowed, it’s expected to be picked up. The author concludes that ample opportunities exist within the industry, providing space for various players to achieve success.
