Forum - View topicANNCast - Challenge of the Super Manga Pals
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Zac
ANN Executive Editor
Posts: 7912 Location: Anime News Network Technodrome |
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I didn't say that, though. I haven't been saying that. In fact I believe "wait and see" is exactly what we did say on the podcast. Anyway. |
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Blood-
Bargain Hunter
Posts: 23769 |
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Oh my, that was a cheery podcast - and of course it was recorded before we knew that the two (ostensibly) healthiest R1 distribs were about to sue the shit out of each other. Clearly, we anime collectors have pissed off Somebody Important and He/She is wreaking a horrible vengeance.
I'm feeling a little mordant here, but it seems like anime in physical media form is closer to joining the 8-track in the Museum of Obsolescent Technology than I thought. |
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agila61
Posts: 3213 Location: NE Ohio |
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I must say I am keenly looking forward to Justin's series on the revenue source of the anime industry, and the relatively modest role that the US market plays in generating revenue for the industry.
If for many series a price point that prices the physical sets out of the reach of "new or less hardcore fans" generates more revenue ... how does that make piracy "more of an issue"? The stereotype would be that the hard core collector "has to have it", and whether or not they also have one (or several) bootleg copies on some drive or burned DVD-ROM somewhere is not an issue for them. It seems like its the mid-tier price point ~ the $65/set mainstream new release price point and the $20/set "last squeeze of juice from this orange" price point would seem to be more vulnerable to market erosion because someone "already has it".
As far as people viewing anime, yes, digital distribution and legit streaming is the way for people to view the anime. Those that prove popular enough that some people will pay to collect the series, they'll get a physical release. That much of the business model is clear.
The digital age will never pay out on a copy per copy basis as physical media used to ... but, of course, the industry originally started (both the anime industry in Japan and the industry to localize anime for the US) back before that model took off, when broadcast advertising supplemented by merchandising revenue was the business model. We certainly are in such an unstable time until people crack the codes for a broader range of viable digital age business models, but the one thing we can be sure of, from the start of printed books with Gutenburg's printing press, is that the new business model will not be a plug and play replacement for the old business model.
Seems like you raised digital distribution and legit streaming only to ignore it. Of course physical media is not going to be the means of recruiting new anime fans. Of course digital distribution and legit streaming are going to be the way that new people view the anime as they become fans. Of course sales of physical media are going to the the "tip of the iceberg" of the anime market, with only a minority of the strongest fans of a particular series looking to buy a physical copy. Of course that is the 20% of your market that will generate 80% of your revenue. What the market is feeling its way toward is how to best monetize that tip of the iceberg ... and the odds are that the best way to monetize Full Metal Alchemist and the best way to monetize Garden of Sinners are not at the same price points and volume targets. Indeed, its not certain that the "mainstream release" markets are physical media releases at all. Download To Own could end up being the missing middle between free ad-streaming and subscriber streaming services on the one hand and elite collector market on the other ... but, of course, Download To Own is precisely where media markets seem to be furthest from "cracking the code" on standards, market expectations and monetization. The most critical "cracking of the code" is in Japan. All international distribution taken together is not going to be a majority of net rights income to the members of animation production committees, and there's no particular reason why the US ought to be expected to be a majority of that international rights income ~ indeed, if right income is split between Asian and Western markets, there's no fundamental reason to expect the US to be the majority of rights income from western markets. The US market along with the other international markets can make some contribution around the edges, but its all founded on a kernel of activity that is based in the Japanese domestic market. If the anime industry in Japan cannot develop a viable domestic business model for the age of digital distribution, there won't be shows for the international distributors, digital and physical, to localize and distribute. |
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BigOnAnime
Encyclopedia Editor
Posts: 1229 Location: Minnesota, USA |
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A little off-topic, but I wonder what the next ANNCast will turn out like. Like the day this got put up, the news about FUNimaton and Sentai came out.
Might as well devote 30 min to that, the state of the industry, and more at this point.
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krelyan
Posts: 173 Location: Utah |
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I could never understand why Dark Horse was afraid give Lone Wolf & Cub a "proper" release, yet continues to publish Blade of the Immortal with its labor intensive releases. Surely, LW&C has more cachet than BotI? I guess they figure the well has been drained? I wasn't aware it was available digitally, I'll have to look into that.
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