I think there are a lot of misunderstandings in that line of thinking.
a) International share of anime revenue continues to grow YoY which will include home media sales
b) Anime fans are some of the nerdiest of the nerds and the majority of regulars here will attest, will happily buy home media they have little or no intention of watching soon
c) As some of the nerdiest of the nerds we can see the streaming service deletions as a threat to media security and will be more likely than the median home media enjoyer to buy now than regret later
d) Our fandom is one of the earliest at perpetuating the idea that we can support the creators (animators, or animation houses specifically) buy buying home media over other forms of available merch (the profits of which we know tend to funnel to production committees instead)
These factors coalesce into a strong group of media buyers. The fact HMV continue to have dedicated space for us in a market that over recent years has collapsed is evidence that specialty interest groups are the new lifeblood of home entertainment. What I think this years AL sale debacle has shown is that:
i) UK anime social media groups (including here) underestimate the size of the UK home media consumers. Early in this thread (or the AL one) someone pointed out surprise at how quickly the order numbers jumped up by a thousand. We should be glad we are the noisy minority and that the industry is bigger and better supported than we knew. This means a continued market for our niche (though less niche YoY) hobby
ii) AL also failed to read the tealeaves on how popular the sale could be and their distribution partner (who I believe also work with other labels) could not handle our volume (on top of their own, plus the other labels). AL have admitted this and will factor it into future sales
iii) AL should consider not timetabling new releases that will fall within 1 week either side of a sale event. This year was compounded by some previous new releases delaying due to production / delivery issues and even if they had an extra week gap I think we would have seen the same problems. We also cannot expect the publisher to avoid new product launches for weeks ahead of a sale event though.
Finally, we did not know about the TOHO stuff going on behind the scenes, how that impacted AL time, what decisions had to be delayed while that was clarified. In addition although the past year has had a number of misfortunes (some self inflicted like quality issues, others not such as final product delivered to them faulty / incorrect), AL on the whole have been a fantastic custodian of anime home media releases. They more than deserve the chance prove that they can turn the corner on this. We know the staff love anime and making our dreams come true, even if they are sometimes slower to execute than our excitement can always bear. Without them we would only have MVM who have shown they do not want to scale much beyond 15 releases a year, and Crunchyroll who produce low effort releases and more than ever want to focus in on a smaller catalogue with big volume sales (I've resisted moaning before but to me the CR releases feel cheap).
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Really good points here; the growth of the UK and European manga and anime market is something I've followed over the last few years or so.
While sales of physical media are declining generally,
physical anime merchandise (including anime-related home video) is actually increasing, and is predicted to grow in Europe to $9.05 billion by 2030, with an average increase of ~11% each year.
Hence Toho's move to gain various global distributors (they know that boutique physical media is an increasing market, so they want to be in prime position to take advantage). A major Japanese studio wouldn't be making such moves if they felt there wasn't significant money to be made.
It's the same kind of growth that we're seeing in the "boutique" Blu-ray renaissance more generally, so-to-speak (think labels like Arrow, Second Sight, Radiance, 88Films, Criterion, etc). All these distributors (Anime Limited included) have realised it's better (and easier) to sell 3,000 copies of a fancy collector's edition for ~£50 than to try and sell 15,000 copies of a standard edition for £15-£20 to a more casual consumer, for example. Not only this, but these labels have built up credible direct to consumer store fronts, so they no longer
need to go through Amazon, HMV, or other retailers where their profits are eaten into.
Ever wondered why steel books have exploded in recent years? Well, that's because in 2025,
steel books made up only 10% of all 4K Blu-ray titles, but made up 18% of the total revenue for 4K Blu-ray that year, with an average retail price of £32! Steel books, limited/collector editions, this is seemingly where the money is in the physical market now.
I think what is driving this growth is the volatility of streaming services; one month a film or show you want to watch is on one streaming service, the next it has moved to another or now entirely doesn't exist on any official platform, for example. Not only this, but I also believe the desire to permanently own almost an 'artefact' or museum piece of your favourite TV show or film (something that isn't at the whim of a streaming service) is also driving this market shift.
I think you're exactly right about people generally underestimating the size of the market and the number of interested customers. It's easy to fall into the trap of thinking it's only the people on social media, Discord, and places like this who are potential customers. In reality there are thousands upon thousands of interested customers who simply aren't on social media or do not post online.
It's no coincidence that when you walk into a HMV nowadays there's a big anime section and also a large section for labels like Arrow and the like - it's simply where the market and the money is now. There are a lot of people willing to pay £30~ for a 20 year old film or series in pretty packaging, as opposed to a bog standard release of a disc in a simple amaray case for £10.
As for the logistics of Anime Limited's sale this year, it of course wasn't ideal. You would hope that a multi-billion pound company in Toho would be able to help upscale Anime Limited's capacity to pack and send orders in the future - especially since Toho now have a London headquarters.
AL are clearly growing as a business, but their delivery logistics is seemingly still at the level as if they were a small, niche independent company. Anime Limited has come a long way since being founded as a small, independent company; they're now part of a global distribution system and working with some of the biggest players in the game.
And with that, you would hope AL's infrastructure would develop with it. But I guess we'll see. I do think overall that Anime Limited do a better job than most labels (when there are significant disc errors we get replacement discs, we get emails if there are delays to pre-orders,
bubble wrap as standard in packages!, etc).
Things aren't perfect, and of course there's always room for improvement, but as far as boutique labels go, I'd say AL is one of the better ones out there. You only have to look to the likes of customer complaints directed at companies like Arrow to realise that it could be
a lot worse. However, I do hope the Toho backing allows AL to become more efficient and provide an even better service for everyone - and hopefully Suzume on 4K one day!
