The a few week ago, some fans for the Love Live franchise decided to publish on twitter a letter complaining and asking for an oversea-friendly streaming option for the recent Nijigaku online live event. Being not really involved in any of this (although vaguely interested in the same event), I was wondering why there was any kind of perceived drama. Well, it seems clear to me why there was drama. See below.
A few thoughts, after reading that post and the twitter replies.
Good fans versus bad fans: In light of the ongoing racial protests in America, I think there is a parallel of dissonance between how illegally distributing and viewing content isn’t a “bad behavior” as compared to selectively applying laws or violence on perceived slights against African Americans but letting White Americans more leeway is also acceptable behavior.
It’s important for people who defend racist positions to justify their point of view, ie., they are still the good guys, despite engaging in an array of conceivably-to-obvious evil conduct or perpetrating questionable-to-toxic ideas in bad faith. The same can be said of all fans of a franchise, in that all fans are good fans, when considered individually. Of course if you ask fans from larger communities, few if any would say “all fans are good fans” is a true statement.
Good intention: I think the letter represent an attempt at customers trying to get some service. It is not unreasonable to ask the question that how will folks overseas, in these English-speaking regions typically serviced by Love Live official channels. A public letter, however, is not how it’s done with a consumer facing situation. If you were an adjacent stakeholder, maybe that would make more sense.
In the end what happened was the oversea-facing marketing folks were notified of this internet trend and an official statement went out to let people know an overseas solution was in the works. Last weekend it worked out (other than the technical difficulty that locked out the first session) and people got their seiyuu idols.
Groomed by attention-seeking platforms: The world doesn’t work like Facebook, Twitter, or Instagram. As old timer like Kelts would say, and I quote:
What sucks is that the discourse on social media is so coarse. When you go back and read exchanges between diehard anime fans on Usenet and old chatrooms and forums from the mid-2000s, they read like middlebrow literature compared to what you see on Twitter, Reddit, and Discord. So many social media posts are made just to get hits, not to communicate or share ideas, and the most provocative, cruel, or just plain daft stuff gets liked and retweeted a thousand times.
An ex-friend of mine once told me he was going to market his book entirely on Twitter. I said, well then you’ll get a bunch of responses from people who don’t read a lot of books. But he said he just wanted to sell a lot of copies. He didn’t care about the quality of the people who read them or followed him.
But I guess that’s the state of most things in America right now, politics in particular. Mass appeal is all that matters.
I’ve got nothing to say to that. Well, maybe besides that it isn’t the acid rain’s fault that we can’t have good things. It’s a confluence of factors–people in their 20s and early 30s learned how to talk on the internet not via blogs but via Reddit, Twitter, Tumblr and the like. Maybe even 4chan is better? Forums basically all died and Reddit is really where it is now. But when you have this kind of issue, getting attention seems like an obvious helpline that it all went there. Ultimately that’s kind of just how it is today, but it comes across like that these kids do not care about the things are perceived. It’s always about mobilizing your online mob first and last. It’s part of the tragedy of the commons in which powers the economic engine of the attention economy. Maybe it’s popcorn for some, but it’s pollution in the most basic economic sense.
Unlike that show, today’s online tribute is a 77-long video which I didn’t get to watch due to not buying a ticket early and having it sell out on me. I also woke up a bit late so I would have had missed the first part of the event, which is the set up.
Here’s the microsite for 2020’s Tanabata online event. Oversea viewers can still watch the last timeshift, which starts at 10pm Eastern time.
The traces for the 2009 show was removed deliberately after it was over. All the promo went down. It was meant to be a thing that had a short shelf life. Maybe that’s just how art works with Kanno. Maybe that will happen for the 2020 version?
In a lot of ways, the 2009 Tanabata event is literally that once-in-a-lifetime event that you may never forget, as fans of the composer and producer, and her output generally. It was art AF. So art that my post about it got eaten by the void when my site went down and lost about 1.5 years worth of posts back last decade. Just stubs left.
The experience of that show carved its shape into my psyche and I still remember rolling out of SSA with Wah and AlexD like it was some wild and crazy thing, even if at the end it was just Kanno marching around the stage with the musicians tooting a rubber duck.
I woke up at like 6am today Eastern time trying to watch the Japan stream. I ended up staying up watched the 9am Asian stream. Man, that stood with me. Without spoilering, I wish I watched the Europe timeshift too. I will catch the Americas one, so maybe I’ll write more about it then.
It seems that the Asian TS is shorter and doesn’t include additional stuff in the Japanese one, which is also 1000 yen more expensive. Oh well.
I’ve been thinking about this show for over 10 years, and it took the Coronavirus being a global pandemic to bring it back. I think that’s two once-in-a-lifetime events happening at the same time. Please take advantage of this online delivery and watch something really, really special.
My sleep-addled brain cried buckets of figurative tears last weekend listening to Sato Takafumi’s DJ set during the online EDM music event Asobinotes. Why? [Hit play below to hear the relevant part. Full set here]
That question “why” is literally the description of words on the canvas of the deep blue sky described in the song Shinography. It is the reason why I do the things I do. I quote the lyrics from the Shiny Colors 3rd year theme (TL):
The IDOLM@STER is a series that lives and dies in the hands of a, to put it nicely, turbulent company during a time when the future is uncertain. I’ve made the analogy of that tree in the past as a personal metaphor, but it’s a metaphor that is shared between not just other fans, but the series itself as well as its creators.
Million Live’s theme songs since the start had been as follows: Thank You, Welcome, Dreaming, Brand New Theater, Union, Flyers, and Glow Map. Do you see where we are going? We will go into the space over the future. We’re looking for the place under the shining star. And I guess Jam Project is also Lantis, right. Shiny starts at the glowing part already. To paint the visual metaphor of the tree, the OG is the seed, CG and ML are the trunk and branches, and Shiny is some fruit. Maybe also, CG is also all of these.
But this “growing” vibe, this repeating theme from OG, CG, ML and Shiny literally is the type of music fans consumed and loved year to year. It describes the attitude of the content, the attitude of the producers–those who know where they are but they dream big. Shiny Colors especially is that daring fruit hanging from the IM@S tree, bucking core trends and practices for popular mobile games and franchises, eschewing easy and quick play for deep characterization and VN-style rewards.
The lead in to Sato’s set, going back to what I was saying, is the summary of where he is. Sato happens to be the music director for the IDOLM@STER series, so he has a hand in all of this after taking over the role from his seniors. It seems almost like biographic when RE@DY was the start for this portion.
In a lot of ways when you are creating media works for a series like this, you are creating some kind of future that you are building towards, and it’s always somewhat risky how things will play out or not. Granted the risk is pretty low sometimes, but with these big franchises the room for mistake is pretty small, or so it can seem.
This is Manabi-ism. We exist as fans inside the space the work’s creators made, but the difference isn’t building a world, but building a the mechanism that moves the world forward. The difference is similar to having a lot of money versus a machine that makes money. In the year of our Lord 2020, only the latter exists, and it is one derivative higher, more difficult, more uncertain.
It’s about our perception of where this world will go. It is about the perception of the creators, and the fans’, the cast, the execs, the committees, and everyone pushing forward our next software update, our next gacha banner, our next new song. This is the idol festival that never ends, and is never exactly the same year to year.
Because if it was, it probably will end soon.
Now imagine that, all the ideas and emotions I tried to describe, play through in your mind in the span of about 138 seconds, and then add the pandemic-induced issue about having missed ML7th and Shiny 2nd, where for one weekend each you can actually touch, smell, feel and see this world materialize in the physical festivals that marks the typical IM@S anniversary lives.
Hey it finally happened: I’m helping to run a legit convention. It did start as a joke, but I’m tryna not let it end as a joke? I don’t know.
I can use all the help you can get. The details are on the website, kurocon.org. Check it out. It’s in 22 days or something, so there is not a lot of time left and we only started the “official” PR today.
Lots of stuff to do on the con side, but also a lot of opportunities! Ping me if you are interested in helping or pitch an idea. Probably on twitter.
Being underneath a rock for the past month and change, thanks to the internet, I know what’s going on? But more realistically, did people travel to, say, Anime Boston, not knowing it’s cancelled? If you did please let me know because I want to know your story.
In a more sober note, obviously as someone who’s done 5+ cons a year for the past…decade plus(?), I have this itch that needs scratching badly. Camping on hotel carpet floors waiting in line for events while talking to other like-minded people is not really what I miss…but I even miss that now. What I really miss is the anticipation and sometimes, the payoff. Thus, Anime Boston being my first real casualty this year is already a small acknowledgement hitting home. I enjoy Takahashi Minami, OK? Of course, I am pretty lucky that I still have a job, I can still pay my bills, and I’m in good health. I appreciate all the delivery guys and retail folks, some who are also in my life as friends and family, let alone the MDs and RNs and EMTs and whoever else out there actually fighting the pandemic. Other personal eventing hits can be better checked in my ongoing eventing log, which is also pinned to the front page of the blog.
With that out of the way, here’s what you should do regarding US/Canadian cons. I’ll write, later, some stuff about the other event types.
Assume cons are cancelled for all of 2020. That means, yes you, AWA and Anime NYC. Until Americans have a widely available vaccine, you can be sure nobody is going to allow non-essential, entertainment events of large scale to happen. USA took on huge economic tolls, as tens of millions of people lost their jobs, in order to slow the spread. This is the context we operate in, so short of a vaccine, there is no chance anything that will scale the virus on 10000s of people will happen. Especially when it’s a 100% leisure activity. Vaccine timeline is on the order of a year, so best case scenario we’ll be looking at early 2021 for a vaccine–probably more like mid-late 2021 given that it’s not trivial to produce and administer hundreds of millions of these, and that’s just for Americans.
Don’t worry about cons announcing cancellations. It doesn’t matter–you’re not going to go to any cons in 2020 anyways. Do keep track who is cancelled and how the refund policy works.
Do know that cons vary a lot. Some are for profit, lowest-common-denominating gravy trains; some are educational non-profit foundations trying to bring the most woke Japanese acts (w). Cons are in different financial shape–just like the XFL, some cons might go bankrupt after this year, some aren’t. Who knows? If by delaying the cancellation, con organizations can have a better outcome, these cons will. And it doesn’t really matter because you, an attendee, won’t be going to any of them anyways. It doesn’t matter if they announce cancellations early or late, you aren’t going to go anyways, because it will be cancelled sooner or later.
Cons can save money sometimes by cancelling closer to the actual date, because in order to trigger escape clauses and insurance claims, certain government policies have to be announced. Until it happens, they will wait before they can announce anything.
Please don’t harass people who run cons or even pester them. Everybody knows what’s going on, especially people responsible dealing with cons, it’s what they do. And con runenrs are definitely having a harder time than you! If you don’t think so, then you really should forget about cons and spend your free time solving what’s troubling you. I mean what’s really at stake anyways, unless you are an artist or vendor who relies on cons?
Speaking of people who are having a hard time, for artists and vendors, well, I hope you applied for that SBA loan (PPP). I heard it kinda didn’t work so well. My condolences. And you have a real standing to pester cons for refunds, because that’s your livelihood.
Refund vs roll over? If you know you’re going next year, it’s better to roll it over. If anything, there’s a chance the price will increase because every con that had to cancel lost money! If you need the money back or if you don’t know you can go, then yeah of course, try to get it refunded. Expect price increases in the near future, across the board, is what I’m saying.
On Force Majeure: It’s fancy legal term for “act of god” which is a bigger label for things that relates to ways contracts may terminate due to unforeseeable circumstances beyond the parties’ control. Basically, unless something like that happens, people are expected to follow on contracts they signed. Most legal contracts that’s worth anything will have some kind of clause governing when an force majeure situation happens, and basically it will spell out what happens, usually saying something about being conscionable or whatever (TL note: some of the deposit or payment will get returned; sometimes all, sometimes not). It might also include a list of naturally occurring events that are excluded or included as a situation where force majeure occurs. In general, things that commonly happen are not acts of god. Obviously nobody would disagree that government shutting down cons to fight a pandemic is an act of god in terms of executing contracts related to an anime convention. (Maybe this is why the country is in trouble, LOL.)
It gets more complicated in that different types of contracts care about this on different levels. Most service type contracts (catering, venue rental) would not really go too deep into this, but insurance contracts usually do. Because, well, it’s insurance. Good insurance policies precisely cover weird stuff that nobody can foresee. Cheap/bad ones spells out that they do not cover whack things. You pay for the difference. And pretty sure, some cons have corona related things covered by insurance, some do not.
Key thing here is, since what happens in a force majeure is defined by the contract specifically, what happens to a con in a force majeure is not universal. Different contracts can have different terms dealing with it. While most contracts these days for stuff like what cons do are quite similar/boilerplate, not all of them are the same and so it’s probably bad to compare one con’s legal situation with another. Further, different cons are in different financial shape too. For-profit cons also have different limitations versus nonprofit. And this is not like buying things off Amazon.com, cons are negotiating with other businesses who are suffering in this economic weather as well, so the money cons already ponied up might not make it back, or it might get deferred to next year, whatever. It’s up to each con to negotiate how that’s done with their suppliers.
For an anime con, think of like, renting a wedding hall. You have to put down a deposit well ahead of time (probably last year, for 2020 cons, if not earlier), and then closer to the event you are due the rest of the amount. For cons like AB I’m sure they paid all of that before the Federal emergency declaration.
The other consideration in this domino effect of corona cancellation is the leniency of the venue. The venue is easily the most expensive part of running a con. Or rather, venue including hotels. Since most cons deal with big hotel chains, they are actually easier to deal with in terms of event cancellation, as they have national (or even international) sensitivities, and a lot more of their money comes from individuals anyways. Organizations are closer to loss leaders (hotels make real money from selling hotel rooms to people going to the ballroom, not renting out ballrooms). Con centers owned by companies specialized in event rentals, especially like big ones like AEG, really do not have as much leeway (it’s all of their revenue, vs hotels), and likely will be way less lenient. Con centers affiliated with local municipalities will likely lean with the government announcements, but it’s not a sure thing. But a lot of those locally owned con centers don’t have shareholders, and you know what that means…
Hope this info is helpful, we already know the internet is crap when it comes to misinformation in the corona era, let’s not add more to it.