Thinking of Buying You
I’m thinking about the new Nozomi Entertainment licenses–Aria, Marimite, Emma.
How many people will buy these titles from them? They are priced attractively, albeit available only through Rightstuf’s own site, some select specialty stores and online stores. If you are reading this blog, odds are the retail availability hurdle is not a major problem (save, of course, international readers). In fact given Rightstuf’s track record we might be seeing some big sales on their titles as they have done with The THIRD and Piano. It’s not expensive. Waiting is not a bad option.
But is it a good option? The attractive bundles are 12, 13 episodes a pop, and you can get them below $40 USD as a pre-order already. It doesn’t beat out the prices of some really, really cheap, low profile ADV bundles, but considering that these are new licenses, it definitely means Rightstuf is skipping straight to just one kind of buyer–those of you who are looking for a reasonably priced DVD set (much like how a lot of American TV shows are bundled), and can live without a translated dub.
The lack of a dub is done as a business decision, it seems–dubbing costs a truck load of money and when you aim so precisely as Nozomi’s licenses are, you just can’t afford to hike up your production costs. Likewise, dubbing also take a truck load of time, and I think while some people are willing to wait for a nice release, just the way they want, no one would rather want something later if they can have the same thing now. Especially if you are investing into this product (aka. Nozomi themselves). A long production cycle means you could lose out on the hype and promotion that fansubs generate. It can mean the delay will eat into the shelf life of your release. More importantly however, you just won’t see any return on your investment until later. And that really bites.
To elaborate a bit on what I mean by aiming precisely, it seems that they are pushing for a very simple paradigm, that a relatively low-priced, reasonably speedy release of the entire series aimed at a select group of people who are already fans of the show. Hey, I dig that.
Having the right price is rather important. A millionaire can be a casual manga reader just like a struggling salaryman. In the same way, as anime aim mostly at people in their late teens and 20-something, you have some people who are already making steady money and also a lot of people who are living on low-end retail income while struggling in college. And everyone in between. The low price casts a wide web, and obviously that affects Nozomi’s bottom line in a very direct way as we all know.
Wait, I did say precise, right–so who the hell would buy Aria or Marimite if they don’t already know what it is? Recall Mamiko Noto’s visit to America last summer. The three Marimite cosplayers are fans of the show. And I think it’s exactly these people Nozomi is aiming for. Is it worthy to note that on that Otakon, I made a few rounds in the dealers room, only finding very few Marimite merchandise, period?
These anecdotes are there to let you know how I feel about this issue. Aria, Emma and Marimite are very much definitive niche titles. Especially Marimite. There is not a terribly lot of fanfare surrounding these titles (although Aria has a lot of fans overseas, I suppose), and especially in the US. It shows, with Nozomi’s fairly cheap but targeted approach in marketing.
Because “niche” is really another term for “it’s not going to sell many units.”
I would imagine as much as having a translated dub of Marimite would be lulz, or a properly-acted dub of Emma would be epic, but Rightstuf is selling these DVDs to people that largely have seen some of the fansubs. And if you can tolerate fansubs, you probably can live without dubs.
It might be worth noting that both Emma and Aria have a presence in the US as manga. In fact you can pick these up at your local big-box bookstores. I wonder how that change things… considering that buying 7 (or 9, I guess) volumes of Emma manga would cost nearly as much as buying the 2 DVD box sets…
WTB Marimite novels!
Or I guess, what I’m trying to say is, please buy Marimite when it comes out. It actually needs your support. Rightstuf could have charged a higher price on these babies as the market can support it, and then lower the price over time as per custom, but somehow they aren’t. Coupled with their “lol get your name in the credits” nonsense, maybe they’re trying to do something. I’m just slightly worried that they won’t get the numbers they are looking for.
Evil Sales Is Evil
So CD Japan is putting up a sale, realizing no one is going to spend the huge bucks on … remastered DVDs. O RLY? Referral-supported links incoming.
And oh, by the way, these are limited quantity items on sale, so get them while they’re still there. Some items are much more limited than others.
Cowboy Bebop remastered collector’s box (notably, it contains session #0!)
Macross Plus complete remastered box (Has the 4 episodes AND the movie version, and other crap)
(Just a brief note on the CDJ affiliate program–well first I appreciate those of you who actually patronized my links, and it’s working out so far even with my sparse pimpage. Not fully tested yet because I’ve not “cashed in” anything.)
I noticed there is a whole series of these hi-def remastered DVD sets out there. Like the Yamato TV set or the three Gundam movies. I can see why these two titles would be below my radar but it doesn’t explain the first two up there that are singing their siren’s song.
Is this (Maho Tsukai Tai box) remastered? Does anyone know?
The irony is a little thick considering just not too long ago I was talking about $250 a pop anime series with some people on the internet. And here we are.
Still, something like this is just … too much to bear, even for me. Especially when it tempted me repeatedly. It’s like Princess Tutu–if I find some place selling the original releases, I would buy it in a heartbeat (assuming it was priced no more than it was originally), just for the soundtrack omake.
Last note on this pure-pimp filler of a post: Touka Gettan is available in its entirety on this latest CDJ sale. The discount is meager but it’s better than nothing.
Hidamari Sketch 14/365
Thanks to those of you who put this list together. You know who you are.
January 11: Winter Collage - Episode 1
February 13: Heart and Body - Episode 5
March 13: 3% Hope - Episode 8
April 28: Mar Cabbage - Episode 11
May 18: Singing Short Cake - Episode 4
June 17: Another Indian - Episode 3
July 14: Cool and Laid Back - Episode 6
August 11 - S5
August 21: Japan’s Summer - Episode 2
September 4: Wolf of Ura-Shinjuku - Episode 9
October 12: The Storm of Drying Packets - Episode 7
November 3: Yuno-sama - Episode 10
November 26 - S6
December 25: Goodbye Ume-sensei - Episode 12
I missed the boat for the first 3 episodes, but will make an attempt to start Spring with the right foot forward.
Welcome to Liberty City? I guess if you’re high on GTA4 you probably won’t be reading this anyways. I thought this episode was a good primer for this April 28th, 2008.
Slice-of-life is like that.
What am I doing? For the uninitiated, I’m going through the first season of Hidamari Sketch on the dates of those episodes. April 28 was the date for episode 11, so I watched that episode on that date.
It’s seasonally delicious!
Soundtrack of Our Lives
I am hardly the first person to ever blog about this, but what would the soundtrack of your life be like?
Maybe I should be a little more specific; open-ended inquiries like that are good ice breaker questions for airy-headed groups of people. But as I was walking down the street one morning the song I was listening to just struck me as a good match to the feeling and the visuals I was seeing.
In my own limited experience, music works with the visuals to achieve an intended result, at least in directing a film. As people listen to more music more often and more frequently, we can achieve the same — by seeing and listening to certain things, and to achieve purposeful results.
Perhaps listening to a pumping soundtrack while driving enhances your enjoyment even if you are just doing your weekday commute. Or listening to a strong melody that can help me me march down the street quickly. Or a soothing song to relax during some private break time.
It also has to do with your own enjoyment of the music as well. But I found that people who listens to music all the time tend to also listens to a wider range of music; maybe because that’s just how it works.
Much like the science fictional future of our fathers’ generation, there are a lot of little, yet important aspects of today that people did not foresee. Just how many people are carrying around a personal media player today? The soundtrack question lights up differently when one can potentially be listening from a collection of sounds from a wide variety of sources? It’s virtually limitless if you take into account MIDs.
It’s almost Shirow-ish to think that our perception of reality is augmented by little things like this, but it’s the reality we face today.
Recalling the original Macross series, we see the effect of culture as represented by music on a race of people. Macross Frontier is just a timely reminder of how things have (and have not) changed since. Some of us are still high on protoculture, but a new generation of kids growing up will be taking that and inventing new things to do, new ways to explore the world.
I Am a Bad Seiyuu Junkie
Confession: I watch anime, at times, purely for the voice actress.
It’s really sad. I almost wish I want my time back after some of these experiences.
I want to make a distinction, though. A lot of people like a certain voice–Norio Wakamoto is one popular example–because they like that voice and the way the actor does his or her thing. And that is great. There are some actors like that for me, too, and I would go out of my way to check out a show done by that person. What’s interesting is that a lot of people who don’t normally pay attention to voice acting still gets hooked by some of the more amusing performances, and that is remarkable. If I was Mr. Wakamoto I’d be surprised that all these non-Japanese speaking people like my works.
But what I’m confessing is worse. For example, as much as I’m all “notokawaiiyonoto” about it, I think Mamiko Noto’s boy voice really … isn’t all that. Perhaps the voice itself is exactly what the director wants out of that character, but it hurts to watch. Still, I’m going to watch Kanokon. And I respect the Ayako Factor. Or recall how Kawasumi did her Mahoromatic role with such vivid memory and superimpose that onto Kanokon.
Times like this I wish I was a green, mean pet alligator.
But being human, we are called to a higher level of existence. We should recognize how funny episode 3 of Kanokon was, not just because it lampoons, but because of how it lampoons and what it lampooned. Is this what people get out of radio shows? Or phone sex? WTB more Saito Chiwa lines. Or Mai Nakahara lines, if that’s more appropriate.
But all that is second to what some junkies get out of a fairly pedestrian comedy affair–by all means, don’t watch shows like this.
Why can’t these enjoyable voice actresses just work on shows that are worth watching? Nana Mizuki finally stars in a show that I can stand to watch, so I guess I should be glad for what I can get.
Maybe I should be content about Kanokon’s massive dose of fanservice, and watch Kanokon in silence. Sadly it just doesn’t work.
