UlasanAnime.com – It’s a bit premature, but it might be safe to say that simulcasting is here to stay. This statement might seem bold because, without Crunchyroll, the simulcasting landscape appears quite sparse. Despite the optimistic outlook presented by the Californian startup, the overall quantity of simulcast offerings hasn’t fully solidified in my mind, or at least not in the forefront of my thoughts. Occasionally, I worry that Crunchyroll is doing too well, leaving a void if something were to go wrong. However, I suspect I’m likely overthinking this concern.
I was granted a press account for FUNimation’s premium service, and to my surprise, it functions rather sluggishly, much like a lethargic panda; in other words, it doesn’t perform exceptionally well. On two separate occasions, I attempted to watch episodes of “Eureka Seven AO,” but the video failed to load both times. I’m curious if I would have better luck on a mobile device or tablet. Perhaps more importantly, FUNimation (and similarly, Viz, and to a lesser extent, Aniplex) selectively chooses which titles to simulcast. This approach appears to be a strategic decision to provide a comprehensive cross-marketing experience for their customers. The “full” package involves marketing products through various channels, as we don’t live in a vacuum. We don’t purchase expensive $700+ box sets of “Fate/Zero” or even the heavily delayed FUNimation boxes of their formerly simulcasted shows without first encountering them somewhere. By the time we consider picking up “Baka and Test,” our minds are already made up, and by “our minds,” I mean the collective internet hive mind. Individual mavericks will still make purchases based on impulse or reasons unrelated to the show itself, but the internet’s word-of-mouth network holds significant sway in a niche subculture like ours. There are exceptions, of course, perhaps shows like “Kenichi,” but such a strategy is effective only in very rare instances to create entire markets from scratch. Regardless of whether a show is simulcasted or not, the internet hive mind will eventually form an opinion on it. It requires minimal effort from foreign distributors to cultivate hits; they are like wildflowers, nurtured by fansubbers, anime clubs, and similar communities. All distributors can do is offer a gentle helping hand and allow things to evolve harmoniously.
Unfortunately, adopting a passive approach is likely not a sound business strategy. This is why I express concern about Crunchyroll; while the business of delivering simulcasts as their primary product is sustainable, it offers limited room for competition. If competition is to occur, it must be based on service quality and price. Fortunately, Crunchyroll excels in both these areas, and I suspect this is precisely why they are so adept at delivering a positive customer experience, as it forms the core of their business.
For the rest of the industry, they are in it for the long haul. When Funimation licenses one of their shows, they produce a new dub and implement a neat little marketing campaign. They famously declared war on pants! Setting aside the joke, their comprehensive business model, encompassing streaming, re-releases, Amazon deals, and other ventures, represents the level of resources they commit to their titles. They cannot afford for shows to flop. So, what happens if one of their simulcast titles fails to perform? I believe this is the current reality. This is also why they engage in license rescuing for many titles; because they have already been vetted. It seems like a straightforward decision.
I maintain that simulcasting is one of those aspects that, ultimately, when the primary business goal is selling home video releases, is not all that critical. For one, companies might invest in shows that ultimately underperform. Some argue that simulcasting cannibalizes home video sales, while others disagree. I don’t believe it makes a significant difference. Unless your strategy is to dominate the streaming market, your only viable option is to partner with those who are succeeding in streaming, otherwise, you end up with subpar services like FUNi’s elite POS. Therefore, I am pleased that FUNimation streams on platforms like YouTube and Hulu, as these sites are actively competing in the streaming space. However, this also leads me to question the choices FUNimation had in this matter. It appears they are attempting to generate some revenue from simulcasting simply because it is an activity they are engaged in, and they might as well try to profit from it, or at least minimize losses.
Ultimately, the simulcast broadcast is merely one component of a broader, more intricate, and complex marketing strategy. This is particularly true for the pay-to-air model of media-mixed anime, where the original creation exists due to an accompanying manga, light novel, or the prominent presence of a company like Good Smile Company’s logo. Often, anime itself is a derivative work, even if, at times, it’s precisely what we desire. From another perspective, simulcasting is just one of many minor elements, akin to securing the rights to seiyuu interview clips for R2 releases. Whether you possess this right (or pay to acquire it) or not, does it significantly impact your bottom line?
I believe that is the fundamental question. I suspect it does, in terms of brand protection, but what else?
Following up on that noitaminA post, I think examining side-by-side sales and viewership figures reveals a lot about what anime excels at versus what performs well for home video publishers. Perhaps a shrewd analyst in Texas has a spreadsheet or two that quantifies these factors, enabling them to determine licensing prices and marketing expenditures. However, the observation that some shows achieve widespread viewership but poor sales is hardly a revelation. Understanding how to account for this seems to be the key factor in licensing non-underperforming titles. Indeed, even simulcast numbers offer limited insight into sales figures. This explains why it’s so challenging to persuade FUNimation to release titles from noitaminA; nobody buys this material. I suspect this is also the reason their year-long partnership concluded unceremoniously.
Well, as previously stated in the noitaminA post, it’s evident that “Guilty Crown” did achieve significant sales. This is why FUNimation is releasing it on Blu-ray (which I am eagerly anticipating). However, I imagine some of you might inquire about “Mononoke,” for which I would direct you to Ayakashi’s sales data and its subsequent performance in the US. At the very least, they made an effort, so I cannot fault them.
The key takeaway, I believe, is that ultimately, simulcasts are not paramount, unless your primary business model revolves around distributing content via streaming. And the evidence supports this.
PS. At the very least, one would assume that simulcasting would reduce fansubbing drama. HA HAHAHAHA. Yeah. Right.
PPS. Can someone please explain how “Fractale” received a release? LOL.
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