The Retailer Focus, BD and New Media
While my heart goes out to the panning of the rant of a retailer, speaking as a buying customer (though I never shopped at RACS) I have to say there is a very agreeable point to what Robert (Bob?) is saying.
Let me see if I can pin it in fewer words and less “quit ruining my business!” bias:
- DVD sales declined partly due to Blu-Ray Disc adaptation, across the whole industry (let alone Japan, who is really taking the lead in anime BD sales).
- BD sales is the next cycle in the home video industry, or at least a part of it. So without BD uptake, the home video sales will suffer.
- BD uptake in anime licensing in America is currently throttled by licensing trepidation, lack of a better word, from Japan. Reverse importation may be the primary source of fear but who really knows? There is no data to support it, one way or the other.
- R1 companies should focus their efforts and resources in securing BD licenses and produce better products, because that’s where the money is in the near future. (I’d also add on my own that before BD prices drop across the board, now is the time to cash in on high margin SKUs.)
Also just for footnote, remember that the US anime industry (if one could be said that there is one, as commonly known) has its roots in the home video business. Pretty much everybody’s core business model is to sell actual, physical products (with one notable exception). It just happens what they sold had to be licensed from Japan. This business came from a tradition of pushing hardware, not software. So things like home video sales trend is key to their survival, including their downstream affiliates.
A proper rebuttal of Rob’s fears (perhaps better put as soothing and reassuring his worries, for the less confrontational) goes like this. In short:
- We don’t know for sure how the BD market is going to turn out in this space. Yet.
- Blu-Ray Disc market has yet to stabilize especially in America, considering the nature of the format still waffles between budding home-theater owners, trend-conscious consumers, and hardcore collectors.
- We don’t know how BD-buying anime fans fit between those categories.
- And there are a lot of other things that we don’t know (most importantly: pricing trends in specifics).
- And once we do know for sure, Japan will much more likely cooperate.
- (Old argument:) The internet piracy market doesn’t overlap with the BD-buying market anyways! All that online stuff is to add revenue stream through the people who won’t buy the physical media in the first place, and the data is good on cannibalization (as in, not enough to worry about).
- Most hardcore collectors either don’t give a flying damn about Funimation’s crap BDs, or lament about it (By the way, this is hawt.). [By the way #2, we also don’t care about some torrent of some 720p material upscaled (by manufacturer) to 1080 then downscaled (by encoder) to 720. WTH guys.]
The way I see it, when Viz, Funimation and others branch into online media stuff, they’re trying to secure as many revenue streams as their budget can allow. I mean, that’s what every media licensing company in America (and elsewhere!) is doing. Even if they don’t make money through it, it’s a great way to advertise. Take Viz for example, I think they suck when it comes to the internet in general, even compared to Funimation (maybe that is because they are now a Japanese company and invariably that sort of lack-of-business-savvy comes like a D&D racial penalty), but even then, they know they have to go there because the is money there, because the next generation of buyers are there. You have to be visible in that space.
If anything, Crunchyroll has shown Japan that there is money in the cloud. It’s a separate question as to if CR can stay afloat, but that’s a different inquiry. Ultimately there’s very little people like Robert can do, so his frustration with the whole shebang of ills throughout the system/process is sympathetic, if a tad misdirected.
I also have one more note from the blog comments–
Who has a BD strategy? I know Funimation does, as their 5-man dedicated in-house mastering folks…exist. They also have dedicated marketing folks that post blog posts and screw around on Twitter. I already mentioned before that these sorts of people are almost luxuries–how many anime licensing companies in the US can afford that? Viz comes to mind, and Crunchyroll? It isn’t like BD mastering is a simple and inexpensive process either. And even today, the only good anime on BD, in the US, come from Honneamise and Sony. That’s it folks! In reality Bandai Visual and Funimation are obviously two players with a BD strategy; one just gets hated on for no good reason (BDs being too expensive is no reason to hate IMO) and jumped ship, the other is in the process of making less-crappy BD releases and wrangling over licensing problems.
In short, BD is still too expensive for small fries, too corporate-paranoid for the big guys (except Bandai), and behind the curve for everyone else (see Funi’s backlog).
Personally, I would love to be able to buy BD of all the anime I want to buy. But a honest look at the landscape of the market would tell me that even if I have a lot of spending money and live in Japan, not all the title I want is even available in BD. Where is my Simoun? Where’s my Futakoi Alternative? Where’s my Kara no Kyoukai? If anything that is the “moral” of the True Tears box story. So, I think it is a little unreasonable to ask a foreign licensee that sort of thing, at this junction.
One thing I do agree with him: Funimation should quit pussy-footing around and make a strong statement in their BD releases; even if it is at the expense of spending more money there and spending less money elsewhere, BD ought to be/will be a core business product. Being the default anime industry leader in the US, they need to be able to put out a quality BD product. Absolutely have to. Why? If anything, so it quells my fear that they can’t even if they wanted to. As I see it, they’re really just trying to scrape by as cheaply as they can, and that just makes the HD-whore in me sad. Worse, it gives me an incentive to wait for something better, like a Japanese release.
And lastly, two more notes:
Japan is paranoid about reverse importation of BDs and they make people jump hoops about their Region A releases. Still, I think there is good sense to change your release methods to avoid making the “ultimate” SKU that will end up siphoning all the richest/most desperate buyers. It is the opposite approach of the Honneamise/BV strategy. For example, we have Disney’s Ponyo, which is tailored to the American audience for their US release, and tailored to the Asian audience in their Japanese release. I think it’s quite clever that the Japanese release carries just a 2.0 English track where as the US release carries a 5.1 Japanese (but lower bitrate than the Japanese one) track. I think that’s really tailoring it to the right audience. Of course, this strategy doesn’t apply so well on titles where volume of sales that don’t tier, or are just really low. And yeah, it rubs those perfectionist collectors the wrong way, but they could always just buy both copies :3
(Oh wait, that makes THREE studios with concerted BD strategy. Let’s remember the margin Disney makes on these babies in their Japanese release. Ahem.)
The other note being–do people care? I mean it sort of goes under my bullet up there about “overlapping.” Poor suckers like me probably would double- and triple-dip on BD/DVD/VHS/LD or whatever as long as you give us a compelling reason we will buy SKU from our favorite shows. I think that’s the basic operational mentality from the consumer side of things in the anime industry. In that sense, when Funimation releases Samurai Champloo BD, I bought it, mainly because it would be my only archival copy–that is the same as buying the DVDs of the thing, since the quality is about on par (if not worse). Still, I bought the damned thing. I can see why people might not buy it as an upgrade to their library, but it’s one example where the BD SKU can fit a role that a budget re-release DVD does for a title that already has a first or second pressing. I think Funimation understands this and knows that’s possibly where the money is!
TL;DR: It is a game of incentives. Funimation (and everyone) stands to gain from playing ball in the various markets, both because there is something to gain and because it is relatively cheap. Before we cry about bulking up core businesses we have to rationally examine the potential gain versus the cost, even if it contradicts with what I said up there…
Gundam and Retail Potato
I mouthed out some nonsense about True Tears, but in reality I was just cheering for joy. I don’t understand why people don’t grasp that the typical anime otaku who would buy True Tears in the first place won’t stand for a DVD unless it’s dirt cheap (ie., a throwaway purchase). That is, once they’ve tasted what that show looks like in HD! And of course, I’d suspect most anime otaku who could afford buying anime (in Japan) in the first place have a PS3 by now.
That said, it wouldn’t be fair to say that every high-def title out there is worth it. We have things like Bakemonogatari, which is more like an OAV since the TV airing was significantly different; it’s a worthy buy but it’s not because of production values per se. We have shows that probably don’t look any different on 1080p than 480p because the production value is too low. And then we have shows that actually look good enough on DVD that a Blu-Ray doesn’t make a whole lot of difference. We also have some upscales. Once you remove all of that you’re left with the shows that truly make a difference on a big screen.
Did I ever mention that Simoun had a high-def broadcast?
Well, no matter. I hope that Gundam Unicorn thing is at least a step in the right direction. Yeah, the price point is no good, but that puts Xam’d’s costs in perspective I say!
Lastly, some Dance in the Vampire Bund music (aff. link) for Momotato. I neglected this title from the last post because the first episode was clearly not enough to make an opinion on the show. I can’t even say if I could make up my mind at all after the second episode, but that is probably not a good sign.
Year In Review: N-Squared List
Just like last year, I guess some things have not changed. This could be a reference.
Leaders of the Pack: 2000-2009
I used to keep somewhat-up-to-date top 10 lists for several categories, including favorite characters and favorite anime. It’s a tool to introspect, and an excuse for said exercise, so why not revamp my top list of anime at the end of 2009 and make it 2000-2009 only? Two birds with one stone, so they say.
Ultimately it’s an excuse for me to migrate some writing from elsewhere to here.
I originally baselined the list about five and a half years ago. And it hasn’t changed a whole lot in some aspects; a couple things moved and I adding a couple things. It’s a sure-fire sign that I’m an old fart, in internet terms. A new generation of netizens have already taken their place and drowned out the likes of me. Heh, remember when people used the word “netizens” and climbed hills to go to school both ways in the snow with no shoes &c?
The below is just a list of anime that I really liked in the past 10 years or so. There were some “franchises” that I was enamored with but they never really materialized in the form of an anime that I liked–Sakura Taisen being the most obvious example–so they’re off the list. And of course just because I like the anime doesn’t mean I like the other parts of the franchise, too. It really is a case-by-case analysis.
One more thing–this list is not ordered. Because it would take too long and honestly the order has no meaning beyond what it means to me, and I can’t be bothered to count any more angels on the tips of pins. So here it goes:
Millennium Actress - It is personal, as with most of this list. However I would say that I watched it during a period in my life where chasing dreams was the stuff that I wish I was doing. In some sense I still feel that I am not? The whole actress-idol angle was beside the point, although it is through that particular lens that we observe a form of beauty that can go beyond the limitations of real life. But in good Japanese tradition of mono no aware, it’s the chasing after an empty dream that beautifies, and perhaps it is the memories of that, which is eternal. Chiyoko’s fervent and undying sentiments powers her journey through time, but “Hollywood Magic” is the true substances of her dreams. No longer a person, she transforms into a conduit between her emotions and the silver screen, purer than the drab reality we’re a part of.
FLCL - Mad pimp style. In fact I still haven’t seen anything this stylish since. I mean this is a 2000-2001 show, so a lot of anime have gone past us since, in a medium that is known for its stylishness. There have been attempts, and some come pretty close, but as they bear their fangs to accomplish what they set out to do, FLCL has already been there, done that, and done it earlier. It also introduced America to the Pillows. LOL. I also think it’s the true complement to Gainax’s Evangelion. One is African-American blues stuff, and the other is, well, rock.
Scrapped Princess - I like this show for its drama and setting. While it’s fun and exciting to see how the story play out in its [super-spoiler-statement-removed], Pacifica and her siblings rise beyond just mere anime characters and into very personable entities that I see everyday. The high fantasy feel also comes across fresh and it unveiled itself like a pleasant surprise. I also blame Sutepri for dooming me to follow every blasted abortion of Ichiro Sakaki’s novel adaptations, because neither the Sutepri novels nor any of his consequent anime adaptations were up to snuff. If I had to say one key thing about Sutepri that I liked, it was Fumiko Orikasa’s Pacifica.
Rahxephon - I don’t know if I like Rahxephon, or Akihiro Yamada :) But nonetheless it’s a very pretty show that just doesn’t stop at being its own exotic, senseless shounen exposition. It has some great moments, and even blundering through its cloudy plot there’s a lot of wonderful tension. It’s also one of the best scripted giant post-Evangelion robot shows, although I can’t really vouch for the likes of Gasaraki or Betterman. The ensemble cast comes alive, albeit stubbornly, to put together enough interesting parallels and polygons to warrant a few essays at least.
Evangelion - Just because it’s mostly in 1996 doesn’t mean I can’t let it in… I added it back to my list partly because I think most of the Eva fans have already gone off and rant about other crap so it’s a topic that is generally less annoying now. Also over the years I’ve never really stopped appreciating what this show has to offer. It helps me to rewatch this because they keep on re-releasing it, lol. And what is there to appreciate? It’s definitely top notch as 90s TV anime goes, in terms of production values. The writing, designs, direction, music, theme, acting…well you can go on. It’s a perfect storm of some sort, as far as getting the right talents (and large number of them), the right crazy people, the right time and generation of Japanese people, the right way to frame the issues… So many factors contributed to its success. Lastly, the rebuilding isn’t so bad so far. Maybe I should’ve limited this entry to the Rebuilding, separate from the TV series, but that saga just started.
Manabi Straight - this is probably one of the new title I latched onto this list after a drought of personal inability to really like a show–basically it’s not to say there haven’t been many great shows to recommend others between 2004 and 2007, but this one manages to strike a chord in me that elevates it above others. It’s a feel-good high school affair with a lot of heart, but that alone wasn’t enough. What makes Manabi Straight work for me is the way the story manages to build a powerful allegory about vision and about fulfilling it. If you can cut through the cutesy loli appeal (or rationalizes it away), there’s a gem waiting for you.
Simoun - What wins with Simoun is its intricate writing to display the really odd human relationships wrapped around a very creative sci-fi/fantasy backdrop. It doesn’t help if the ensemble cast is also awesome and full of “good girls.” It’s not the kind of good girls that grace a Key game, no sirree. To me this was probably the ultimate example of the anime storytelling format in combining elements of high fantasy and drama, all together with just enough of those frown-upon meta elements that it doesn’t get in the way of the story. Unfortunately the production value was lacking in places, and it’s a difficult show to get into regardless on how you feel about yuri and fanservice. Nobody is perfect I guess.
Notable mentions–shows I like but don’t want to put on a pedestal:
GunParade March - I’m amazed that it’s still on my list, but for a romance-in-the-military story, it really captures that whole ishin-denshin idea excellently.
Witch Hunter Robin - Does goth style right. And Robin is…simply wonderful IMHO. Shukou Murase’s problem with pacing just wasn’t so pronounced here as it is with Ergo Proxy.
Ghost in the Shell TV - The unlearned man’s version of Shirow’s Ghost in the Shell. With twice of the cuteness and half the nudity! The less cat-ish Major might be more mainstream-appealing at any rate. Yes, I mean both Stand Alone Complexes and the OAV thing.
Planetes - No man’s an Island, and no man should go without seeing PLANETES because it’s awesome drama. Oh, it’s an exemplary piece of hard, near-SF with a sense of humor, too. It may also be one of the earlier no-nonsense post-911 works from Japan, as far as its vintage.
Dokkoida?! - It’s one of the best self-referential style of comedy that I can recall. The sisucon episode is perhaps the funniest and yet the most riveting episode of LOL ever. Also, in before ufotable. Futakoi Alternative gets a nod here, but I don’t think it’s got enough to make it to this list proper.
Koikaze - Speaking of sisucon, while this anime tackles a subject matter that’s all too taboo (incest), it is directed and put together with superb craftsmanship that it even does the subject matter with some justice, if at least superficially.
Melancholy of Haruhi Suzumiya - just for the fact how it raised the bar for TV animation alone is worth watching. It’s a boon that it’s also one of the best adaptation of juvenile science fiction for anime that I’ve ever seen. The out-of-order broadcast is brilliant and it is a ballsy move that paid off. Too bad Endless Eight did not; I would probably recommend season two anyways.
Full Metal Panic Fumoffu - Possibly the widest-appealing slapstick anime ever, and it manages to be not-too-gross most of the time!
Cowboy Bebop (TV, Film) - You already know this. Hi Robert Rodriguez and Quintin Tarantino! And Keanu, lol. While most of it took place before 2000, the movie didn’t come out until 2001, and for the most part Bebop is more of a “this decade” thing than a “last decade” thing anyways.
Chikyuu Shoujo Arjuna - It’s a little too new-agey for my taste, but it is a solid production with a daring message. I liked the music and the production as a whole.
ef - I’m reluctant to include this title because there hasn’t been enough time since I last watched it, but to call it a novel thing is understating the creative effort behind a seemingly plain eroge-turn-animated-companion. I’m not sure if it rises fully to the occasion however, as only the test of time will tell.
Xam’d - Like Haruhi, it belongs to this list just because it is animated like a champ, and the rest of the package is quite above average. I think it makes a cheap substitute for Eureka 7, at half the length and twice the visual goodness in exchange for a less satisfying story. Still to some the story might stand stronger than those who are more picky about linearity.
True Tears - There is something oddish about this show which just doesn’t make it stand out beyond its harem trapping, even if it most deservedly is beyond that. Characterization and production value are top notch. It’s almost needless to say that True Tears is a charming affair, no matter who you root for.
Rurouni Kenshin (OAVs, Kyoto Arc) - It’s possibly the only shounen fight anime that I truly liked, and probably the last. And the 4-episode OAV (or 1, director’s cut) of the Tomoe tragedy… It’s just so good, even if it lacks the grit of what we typically associate with samurai films. In its place we get a very early taste of, say, and euphoric field kind of thing. I can’t really say much about the TV series though, besides that it’s an enjoyable rump with some worthwhile meme powers even so many years after. Besides that, it is a 90s show. Unlike Bebop, the Kenshin experience is a very 90s kind of thing anyways, so I don’t want to highlight it (much).
That’s more or less it. I know this list skews old, especially considering the volume of anime available the last 5 years, but passing the test of time is a major criteria for me, and a lot of the shows in recent years just don’t stand out too much, you know?
For a very different list but possibly even more a trip down memory lane, check out Psgel’s. There are other holiday festivities that may grace this site, as such.
[edit: I removed Utena the Movie, because I don’t think it’s a 2000+ title if we go by the screening dates! I don’t know why I thought so the first place.]
True Tears for Fears
Two little Bandai Visual tidbits:
1. People whines about Kurokami’s reverse-importation schtiks. Do you care about Kurokami? Most people don’t. Which is why this nonsense continues, IMO. If it was a top selling title then I seriously doubt Bandai USA would let the Japanese have their way. Which is to say all this righteous indigination, while sensible, is not really worth much in dollars. Most of these high quality releases are for those old-timer otaku, who are generally not a force to be reckoned with or a voice to be heard nowadays. Plus, far most people watch dubs. I guess this is what happens when the Bandai Visual USA thing failed–they have to resort to some other way to pacify fears! But the whining is awfully reminiscent of the people who complained that BVUSA titles were too expensive. Of course, the true villains are those Japanese execs who are afraid of reverse importation. It happens, sure, but just how much does it hurt? I don’t know.
All bets are off when it comes to Gundam Unicorn, namely because of its profile and it being one of a kind in terms of release format. [By the way, Gundam Unicorn Japanese BD will have English dub and subs]
2. True Tears Blu-Ray box is pre-order only, and it is made only after a x number of units have been preordered. Given this special case, you can preorder it only from Bandai Visual directly. And you have to pay in advance! If the prerequisite unit of preorders (2000+) is not reached by the time the preorder deadline has past (November 10 to December 16), then that’s all folks…probably. You can find the website here. Note, they obviously do not allow oversea orders (since their payment methods are kind of limiting and they say they don’t ship out of country), so get a proxy if that’s what you want to do. As mentioned elsewhere, it’ll come with additional animation and bonus material.
At least you know Nagare-san is happy about it! That is one very BD Hiromi right there.
