Category Archives: Conventions and Concerts

Anime & Brexit

Think of this as me practicing how to write about current events. After reading over this post I felt the disclaimer about regional differences is needed, so here it is: The below discusses monetary policy and recommends certain action mainly from a US-centric point of view. Your local currency and economy may behave differently than mine or most, so these are not really suggestions as much as broad-stroke observations and predictions.

I used this image to distract myself from all the depressing Brexit talk last night

For the unaware, the UK has passed a referendum to withdraw from the European Union, which is, at heart, an economic and legal coalition of European countries. Within the Union, some rules of law applies across all member nations, as well as free trade between member nations. This leaves the separation of UK from the EU in a state of uncertainty as no country has left the EU in this particular fashion, and the UK is a major economic power in the world.

Let’s take a look at some immediate and longer-term impact of the Brexit event.

First of all, there are some political dominos that may happen as a result of Brexit, but the one that catches my attention the most is the possible split of Scotland and Northern Ireland (and/or other regions) from the UK. There are a lot of others, of course, but this one is notable because if we think of the EU as a single economic rule, UK pulling out means now we have another rule to deal with in terms of international commerce. If the UK splits further then we may have additional entity or entities. Looking at it from the aspect of copyright regional markets, it is not a big change in terms of the status quo, but like all the other factors driven by uncertainty of the Brexit terms, at least, it makes licensing anime into the UK more complicated. Or at least, it’s probably not going to be easier than the status quo.

Things will fragment into more problems when we hit existing contracts that deals with the UK and its territories as a whole if the UK splits, but this is hardly the first time the world ran into a contract like that. It is probably less problematic than an EU-wide contract that some private entities may forge, as this would be a first-time. Guess the lesson here is splitting up countries and economic unions are rather pains in the arse, to put it lightly.

Stronger intellectual property law is a key part of the US international trade agenda. Weakening the EU by Brexit may mean that the EU have less of a leverage in such trade talks, although the EU is not an area with great concerns when it comes to protecting media IP or patent protection. This is a minor consideration I guess.

I think when it comes to music licensing it might be where things gets most icky, as far as media goes, but the impact of that probably won’t be very big. Then again, licensing music from Japan is such a Don Quixote-esqe task anyway.

The immediate hurt of Brexit is in how the world market react to this event. The drop of the Sterling and Euro, and the rise of the Dollar and Yen are all natural reactions, albeit extreme, at T <24 hours. In the near term this will definitely be a problem, mostly for internationals, but markets will even out after the first shocking days, as UK prepares for its exit plan and the EU leaders prepare in kind.

For those of us who import from Japan, it will definitely hurt as the JPY rallied the strongest among major world currencies, as it does classically in this type of scenario (and also because the Franc, well, is in Europe). Things to watch out for are your pre-orders that hasn’t been collected on yet, as well as any orders in this month that some vendors charge at the end of the month. If it is any consolation, the JPY to USD was as below eighty US cents to a hundred yen merely 3 years ago, so it is something most of today’s more-affluent collectors can deal with. The USD also rallied versus Europe in general, so the impact isn’t so bad there.

It definitely is not good if your home currency is the Euro or the GBP, so times like this it might help to hit up your local joints before prices hike. Inflation is likely to set in for UK in the near term, although you can bet that regulators will quickly respond to anything to that regard, so this is more a long-term worry. On the flip side, if you reside in Japan, now is the time to send money home. What currency you are being paid in matters a lot, and likely if you are a weeb in JP, you’re being paid in JPY, so you’re pretty safe.

Along those lines, interest rates will likely lower, especially if the Brexit triggers more widespread downturn in economies. That might be good if you are planning on a large purchase by loan, like buying a house; or if you want to consolidate outstanding debts for a better interest rate. The only concern there is that in some regions, rates are already really low. It will limit what countries can do to ease their currencies, and maybe we’ll see others try that negative interest rate thing.

The redrawing of trade borders can affect also eventers, if intra-Europe flights are your thing. Budget carriers may have to change rates as Brexit moves on as a process, so it might be good to do your flying sooner rather than later. As you can see if Scotland make a move out of the UK, it will make that even more messy. It doesn’t really impact those of us outside of Europe, but flying to Japan is likely not going to get any easier for anyone anyway. Besides the monetary concerns of flight, going to the UK from EU nations may also get more complex on the point of visas and such, but that will be a major point in the Brexit negotiations with the EU.

As a matter of currency speculation, the Pound will most likely get much of what it lost back in the very short term. Exiting the EU will be a long process and it means more volatility, but it also means things can’t stay rock bottom the whole time. It’s likely that the main damage will be people on trips this coming month, and some folks staying abroad who are living off the GBP. On the long run, there probably won’t be much of a difference when it comes to most nerd purchases from Japan.


Eventing As a Sub-subcultural Marketplace

This post is partly in response to SDS’s comment about wanting to hear more on this topic. In a nutshell, during his recent trip to Japan, he went to the Love Live Thanksgiving event that was recently taking place. I remember reading about the event mainly for the giant LLSIF game they set up where nine different people can play by tapping separate buttons, and seeing it on a big screen. He also posits the “trigger” about choosing between that and a similarly-timed Love Live doujinshi event.

Just to speak out of my own experience, the past few Million Festiv@ls were like, the few times in recent years where I really wanted to go to a doujinshi event. Given my inclinations for doujinshi, it was more to get all those Matsuri x ??? books, or just seeing what’s out there and which fan base ships what or how did the fannons operated. I remember also about Comikets 87-89, when I would actually research the catalog for ML circles and seeing if there’s anything really worthwhile. It turns out thin books themselves are not where it’s at, but also accessories like card mats? Thanks, guys, that’s some next-level artist alley stuff. (By the way, Million Festiv@l 4 is coming up next month. There are also a few other series of IM@S-only events that are inclusive of ML/CG stuff as well.)

A bit of backdrop about these tiny doujin events. Like most Artist Alley types, Japanese booths nowadays also gravitate beyond the humble thin comic format, at least when it’s focused by specific IP like this. Fans buy merch–not just prints, but the whole nine yards of them. As a reference point, my last “set” purchased from Lunatic Joker last year comes in fancyass plastic folder (full art on it) along with a printed shikishi and a couple other misc goods. The book itself is lusciously printed with a color cover. The whole thing is like 2000 yen but the book itself probably could have gone for just 1000 alone. So you buy the set…because artists know they make more money this way. Perhaps one of the most well-known Million Live doujinshi circle/person, Taka, makes Mocho merch for all occasions and while he also has a series of fan books (mostly detailing Mochoisms on radio) and doujinshi (CG/ML/765 SD stuff) he makes a lot more on these polyester eventer shirts (that wicks away sweat!). Or why Bin1’s now-smash-hit Captain America collab translates into T-shirts and a book of prints. Or why there were so many ReDrop shirts in the crowd during IDOLM@STER 10th.

I guess, in a way that ought to be obvious, the communities within the fandom are engaged persistently. The “artist alley” narrative is a different sort of thing than the typical eventer stuff. Fans at an IM@S live show up in Taka shirts meant a certain context permeates those people’s fandom, for example, and this a particular sort of cultural currency that only pays off in that specific context. But this is the same and yet different than saying you are a Kikuchi Makoto producer, for example. Rather, these fan creation actually reflects more nuanced and specific/unique, composite meanings. It’s easy to be a MakotoP and wear a pin badge of her, as you can get countless official and fan-made pin badges of her. It’s another if you show up with custom black coat embroidered with Hirata Hiromi on the back (let’s congratulate her on daughter #2 by the way). Or a ReDrop Makoto. Or certain pins over other pins.

To paraphrase, official events like lives and such are not “canon” but rather “content.” Fans ultimately have varying levels of preferences in terms of the engagement they want to have, they can have (eg., oversea versus domestic; rich versus poor; student versus salaryman), and what’s available. But unlike watching an anime or playing video games, event-as-content is both ways, as in fans at the event exchange/create ideas as well as consume new content. If the defining mark of otaku entertainment is its cultural ouroboros of remixing aspects of fandom in subsequent work, eventing culture seems like the same thing but on hyper mode.

In the US, I really don’t know AA culture enough to make a statement convincing enough about how it works to the degree that it runs parallelly like Tumblr or whatever. The truth is that these cultural spaces generate its own kind of content, but at the same time it resolves around other contents in which defines these spaces as fan spaces. That much applies across the board. In as much if you have only so many days visiting Japan, what you do with your time visiting which space is entirely a matter of your limitations and proclinations.


AnimeNext 2016: Wrap

Light and sweet, AnimeNext.

Chicken & Biscuit

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Anime North 2016: Wrap

Anime North this year is punctuated by Kawaii Kon, where a few of us were gathered again for Shimoda’s visit to … USA I guess. During the opening ceremony the news about Hasegawa Akiko came out, and some folks were having a meltdown. That kind of set the tone for this year’s con.

Sup Miki

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Anime North 2016: Salt

Will do a warp when I’m more caught up on more important things. I just want to address some of the salt I’m hearing from other producers who went to the show.

Most of it stems from a new system that ANorth implemented this year which gave out tickets for people who wanted autographs. They also gave out tickets to people who wanted a photo with the two voice actresses, Shimoda Asami and Hasegawa Akiko, but that line was largely inconsequential. I guess people want autographs. I wanted pictures, so I got pictures all three days despite not having a ticket one of the times. I also wanted autographs because, well, it’s a chance to meet the guests.

The line up and ticket dispensing experience, shall we say, leaves much to be desired. I think overall this was a step up from prior years where everyone just line up at the autograph area for hours on end, and in exchange you skip the con and such. Now that I said overall, which means in some ways this is inferior (namely the loss of sleep it results in) and this is purely speaking on my own behalf so I can’t say that works for everyone.

The big gain of doing a ticket at the opening of con each day is that you can do all kinds of stuff at the con other than waiting in line until the autograph session. And in either scenario you’ll be waiting in line anyway. In Anime North’s case, however, this means people in line early for the tickets are actually people in line early for the dealer’s room, since that’s where the ticket giveaway was. This complicated the line control for people getting tickets–the stampede, the runaround, the hurt feelings (because you waited earlier than everyone but they just ran around you), and the whole nine yards. Well, it’s more like 30 yards between the booth and the entrance.

The danger of that aside (and it’s important to stress this as a major problem, but I won’t belabor it), the thing is, and it adds to the subsequent salt, all of the problem with that “last mile” of the process can be easily fixed with just a couple changes. Having a lead walker is one. Having the ticket dispensing done outside of the con (there were just 1 con safety guy and 2 staffers giving away tickets–I think the booth girls are actually Berry’s maid friends) is another. Having a single entrance (instead of a 4-wide march into the dealer’s room) is another.

To add more salt to injury, some people tried to engage the ANorth safety/line control staff to tell them that their plan is going to have some issues. Unfortunately this is the kind of thing where some experience dealing with this situation can go a long way, and I’m not sure if that was available. Anyway, the situation was one where there isn’t a lot ANorth line control could do; there’s clearly some gaps between the idea of one group (GR) and another department (public safety). They can’t hold up the line for the dealer’s room, they can’t have people give out tickets ahead of time outside, and they can’t have a walker (nor will it be all that effective). This perceived indifference from the con staff was a twist of the knife.

You know what? This ain't salt water.

But, so what? I think by giving out tickets it merely materializes the reality of trying to get an autograph from a popular guest. There are many of us and only about 40 signs from Hasegawa each day. I am already very happy that I can try/get an autograph all three days and still attend their panels and photo sessions. In an average anime con this would not be even half as good. Now you know how terrible it is in terms of a concrete number: About 40.

There were other execution issues. For example, the autograph tickets allow for 2 signs (which should be changed, IMO, for Hasegawa, once they realized her sign speed is slow), but they didn’t collect the tickets. This means if you had a buddy who was in the other line (one ticket per person), you can both get a Hasegawa turn and a Shimoda turn. It would have taken almost no effort to collect the ticket upon autographing and preventing probably a handful of people looping the line and possibly screwing standby people.

This is where we enter the “security ‘theater'” aspect of the game. One thing great about Otakon is its very open-facing forums where staffs and fans converse about exactly these kind of issues. I’m really glad there are department heads at that con, in past years, who would explain to us why our ideas may not work, or why their ideas would when it doesn’t seem so obvious to me. Or even take some feedback from us and improve the problem areas. And even that is just a perception; actual execution is what matters and nobody is doing a performance review, per se, of how well things worked out year after year. Anime North, per my estimation since the very first one I attended in 2004, was not really that good of a con as far as the people running it goes. It wasn’t bad; they had a good GR and security group, but the rest I really don’t know enough to say. But the whole thing was definitely a big ball of all kinds of stuff, and you can see the tension of a convention that is more about the cosplay/hangout and a con that is somewhat serious about its guests. And its guest list always rotate the same kind of people, the same dub artists and nerd/weeb entertainment acts (wrestling is p. interesting). Pepper in there a few seiyuu and VK/cosplay guests and you have an ANorth.

And this is where I think the salt has to stop. If ANorth didn’t “care” about hardcore otaku producers it would not have had repeated IM@S guests. It would also not have a change into tickets. That’s part of the implementation flaw with doing something drastically different the first time. And it’s up to line control/public safety to do a good job with it, which they clearly did not.

A large con like Anime North is run by hundred/thousands of people, and it doesn’t matter if they are volunteers or paid, if they are not held accountable. So in this case, the fans ought to hold them accountable for problems that was within their area of influence to do something to fix. Fans themselves should also try to be more level headed, because this salt is just a figure of speech and it ain’t gonna cure meat, let alone anything else. It’s important to be reasonable and constructive in the criticism. It’s important to understand the human limitations of ANorth and its staff and volunteers.

Personally, though, I just didn’t think it was a huge deal. Maybe it’s because I got lucky and scored a ticket (about total of 80-90 were given away each day) all three days. Maybe because I’ve had worse and know that the alternatives to this system are often worse, personally. Maybe I cut ANorth some slack because they are doing a new system for the first time. Maybe because I’m old and mellow? I’m not even bothered that I bought 35CAD worth of food for the line on Friday and got $0 back in donations, but that’s probably because it was CAD and CAD is like worthless right now versus USD LOL. Maybe it’s just perspective. Which is why I think this is more about theater than actually fairly distributing tickets. It’s more about getting fan feedback and understanding what they want, which in this case, just a normal line all by itself without the need to stampede. I don’t know what is within ANorth’s power and what isn’t, so from a constructive criticism point of view this is all I can do. But the saltiness needs some bounds. I understand it’s an emotional thing and I feel the salt is necessary to a degree, if just as a coping mechanism, but don’t let that cloud rational judgment.