Category Archives: Conventions and Concerts

The Trip, 2014

I never got to wax much nostalgia about my trip last April when I went to see that PA Works show, along with Coorie and Tamayura. I traveled for about 10 days and did the otaku mecca thing, while focused on taking it easy, eating (and didn’t even do much of that beyond local recs) and hanging out. Watched a couple anime movies, at least. It was actually quite a blast, but I definitely could’ve done more if I was more organized or adventurous.

Makoto goes traveling on a Jitensha w

This year I’m going with a herd of other foreigners and in the span of about also 10 days, I would have hit up 2-3 theater greetings, probably will watch the same two anime movies like, in four different occasions (funny considering I could also watch Buddha 2 or the new Tiger & Bunny film that’ll get a theatrical run in a month), will attend a radio recording, plus at least five concerts. FIVE. Maybe more if I want to do that underground idol thing. So most likely this means I won’t have time to try my luck at Kancolle cafe, just a couple days for shopping, and who knows how many places I can go eat? I get the feeling those things will take care of themselves however.

Here’s the event list, at least the confirmed ones. A few are not yet and are marked TBD:

There are a ton of events that I wished I could attend, either because it runs against one of the other events, or because I can’t get the proper tickets (like WUG handshake sessions…or Yui Ogura handshake sessions…or Milk Lariat S conflict with KOTOKO…or Kanon 2014 conflict with IM@S with Yanagi Nagi live etc).

And that’s just events! There are tons of other stuff on the agenda, none perhaps less epic than the chronicles detailed here. But I will do my best with the whole enjoy Japan thing. Food, scenery, shopping, you name it. Definitely want to revisit A-Button and Garten once.

Anyway, if this blog stops updating the next 2 weeks, you know what’s up. Actually I will still be updating the non IM@S stuff here, so watch for that; but as you can see there’s not a whole lot of that.


That IM@S Flower Thing

So this is a story all about how
my life got flipped, turned upside-down
And I’d like to take a moment
Just type it out
I’ll tell you how I became a P as an American.

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The Feels Economy

It’s so last decade to say that American otaku party, but don’t pay. I think the problem is about who otaku pay.

If we take saving anime with an ounce of seriousness, we won’t be talking about cancer, Yamakan or underpaid animators. We would be talking about how to monetize it and how to keep the money in the family. Anime cons are a way people pay, but it’s awfully meta (we would know). There’s that disconnect between an Otakon and its sponsors, for example. Or Otakon’s host city, its vendors and merchants, and how none of them has anything to do with anime. Putting it to perspective, a big telecom show or a show on medical devices pays the locals for hotel space and exhibit space, and its attendees bring their corp spending accounts. Those are big bucks industries doing their job as a matter of business, an exhibit is incidental.

Anime cons are not like that at all. They’re destinations for people to have a good time, to meet up with other fans, shop in the flesh, and do stuff hard to do on their own otherwise. As someone who attend cons for guests, it’s always a reminder that it costs a lot to fly one across the globe, so fans band together and pool their dough to make it happen. We attend because we want to attend them, I think.

So wouldn’t it make sense to design a monetization strategy based on that? To provide a good experience? UX in this sense, more or less, means feels.

I hope you guys are not the kind of people who throw a fit when people use that term in this way. Pursuant of a singular, resonant and memorable experience is a big reason why I attend cons. It’s a lot more fun than lining up for loot, half the time. This is why being a voice actor in Japan means sometimes you have to attend events like these. It’s also customary nowadays to cap out these otaku anime runs with a live show, featuring the OP/ED artists and the voice actors in some kind of stage production. It’s just one-shot, but it typically sells out to a full house.

Which is to say, this is what I mean by the blog post title. It’s about making money through feels. It’s another way to look at how otaku spend money, and what motivates them to do so. I mean, in a very basic sense that’s why we buy DVDs and Blu-rays, so we can enjoy watching the show we love to watch repeatedly. But for many of us, per se consumption of anime is just the beginning, not the end of the road. This is why we seek out guests, I guess.

The tricky thing is that for many of us, per se consumption of anime is also a tangential thing. It’s the whole “scenester” concept. It’s like how you can claim to be a huge Touhou fan and not really like the games. It also kind of make my skin crawl but that’s just how it is, and I might even be guilty of this at times. I mean, if you want to get a PhD on manga, you might have to read a bunch of manga that you don’t particularly love, or even like. That’s an extreme example, but many of us enjoy being a part of a scene, or a group, in which it becomes necessary to watch certain shows.

Which is just another way to say that per se sales of anime can only go so far. If you want to monetize better, you have to go deeper. And that is nothing new.

Maybe it’s more illuminating to see how much I spent to chase feels. A trip to Japan to just watch concerts will ring up a few grands, I can catch maybe 3-4 shows, more if I push myself but it’s already a daunting task as is. (For the record, I’m going for at least 5 this time.) But that few grands is more than what I’ve spent last year on figures, and maybe even more than I’ve spent at all my cons combined in 2013 (I didn’t go to too many of them in 2013).

It really dawned on me that in the near future, this is slow ly going to be how hardcore otaku end up spending their cash–concert tickets and related costs. I mean, it was already pretty clear from how Love Live took off in 2013, and this means companies were already in tune of this right around ~2010 or so. Good for them. It’s like the usual rhetoric anti-RIAA types say about how artists make most of their money from touring? Because you can’t pirate feels.

Who says? I think it’s better to say that digital piracy still has a very long way to go to achieve the kind of feels you get from being there in person. Which is why people still go to movie theaters!

PS. It might be too late to invest in Ruifan, but it might not be too late to invest in glow sticks and glow stick accessories.


Year in Review 2013: N-List

So, the usual.

kirino new years

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Re: Con Consumerism

Jäger Madarame

It’s weird! Because when I see people talk about posts like this, I feel like, “what’s this? Are we back in 2007?” Still, salient points are salient.  It’s noteworthy, actually, because, well, I might be OCD when it comes to things like this. Let me quote–

  • Find out who runs your event – and if they are a non-profit. Are the organizers of your con making money, or are they a non-profit that is required to put all that money back into the event itself? Hint: Anime Expo, San Diego Comic Con, and many local cons are non-profit. New York Comic Con and Wizard World? Hell no. In the past most con attendees knew this stuff; it frightens the shit out of me how few people know it today.

  • Read up on the history of the event. Sure, so-and-so author/guest of honor/star you worship may be going to a con in your city, but if that same con is doing stuff you don’t approve of (or their leader is a wannabe CEO type with a shady police history), don’t go. While you’re at it, let that author/guest of honor/star know your concerns via e-mail or twitter.

  • Go outside your comfort zone. So many people don’t compare conventions or even evaluate the other events they could be attending because they are obsessed with going to the biggest event possible. This is ludicrous. There are hundreds of Comic, Sci-fi, Gaming and Anime cons out there and each of them are very, very different, so shop around! Trust me, the smaller, local shows are an absolute blast – and some of them have free food!

Here’s the thing: None of this really matters. In fact, the blog post’s admits basically as much. Let’s say if all I care about is some guests that only show up at SDCC/NYCC, do I really have a choice? Not really. Sure, some guests show up at SDCC/NYCC shows up at other cos, but some don’t; and more often than not the fan’s engagement is probably not hardcore enough to drive to another con, even if close enough to travel by car, just to get that one guest. If all I care about is cosplay gatherings for a [insert favorite franchise here], do I have a choice? Generally not unless your favorite thing has gone meme like Homestuck or Kyoujin (and even so your gathering will likely be way smaller). If I don’t want to travel outside of daytrip distance, do I have a choice? While more so now than before, but it’s quite limited for most people still. I kind of want to address some sour grape-type ranting about these sort of things in terms of effort versus what you get out of it. At huge cons, the problem is multi-fold because you get critical mass of hardcore campers who would rationalize the irrational to get whatever that they want, and it drives up the opportunity cost of any activity (usually in the form of wait time in line), and it causes chain effects for cons trying to manage these messes that popularity creates. And because huge cons are like shining beacons (eg., cons that can spend real money to market themselves; big enough to gain word-of-mouth marketing powers, etc) that attract newbie consumers who don’t min-max their time at cons (mostly because they don’t even know they should approach those cons this way), it makes things worse for everyone.

The second OCD point I want to bring out is that there really isn’t an alternative. This is also why it doesn’t really matter. The situation is not approachable from the “My way or the Highway” style of consumption, which is weird, because that’s the default mode of dealing with unhappy purchases as consumers. You write a nasty review, you ask for a refund, you ask to talk to a manager, whatever. None of these things typically work for cons–and when they do, it’s because they are a genuine awesome con, which is rarely your average megacon. What does work is running one yourself. Compete. Provide the solution you wish you had. And obviously you can see that is not a trivial undertaking. Even just joining the megacon that you are “forced” to attend so you can improve the con from within is a very long shot, either as staff or as a local loudmouth.

The other way to approach this is, well, take the Highway to get your way. Create an alternative by overcoming your personal limitations. Of course, things are still complicated even if you are okay with not going to a con, or willing to spend more money to fly to a better one. It’s okay to prop smaller, better-run cons that serve your needs. This is the “Animazement” effect personally, since attending that con hits various personal sweet spots, despite the rather long ride to get there. But those are just my sweet spots, not yours or anyone else’s, and I’m the kind of guy who spends a good chunk of his disposable income this way, having attended cons since the 90s–not your average consumer. In the spirit of this, let me provide with some, I think, alternatives. Not quite alternatives to the bullets I quoted, but they’re probably more helpful. Maybe these alternatives aren’t available for you, but they could be for someone else you know.

Find out about the nature and tendencies of your event organizers. Here’s a detour: you might know both AX and Otakon are “non-profits” but do you know the MPAA and the NFL are also “non-profits”? Because they are trade organizations, or 501(c)6s. AX is run by the SPJA, which is also a 501(c)6. This means when you donate money and items to the SPJA, it can’t be a tax write-off. On the other hand, Otakon is run by Otacorp, and they’re a 501(c)3 educational organization, and money donated to them are tax deductible. So, like, what is the point of this? Who cares if Reed Expo (which is a subsidiary of Reed Elsevier, a FTSE100 company (a London Exchange index)) is a part of a corporation? Honestly? It doesn’t really matter. This is why it’s a detour. Heck, NYCC would not be possible if not for the throngs of volunteers every year. It’s not like everyone gets paid (money) anyway. The point here is about the culture of the organization. Otakon and AX cannot be more different in some ways, because of the culture and the transparency and the pay structure and countless other things that are inherent in the history and the leadership of those organizations. The visions of these cons vary, and it matters. There are positive and negative aspects to all these organizations, and different tendencies about these cons that sophisticated convention “consumers” are ought to know. Just because one con hires a couple full-time staffers and another doesn’t may not mean anything at all. I mean, just look at AX con drama for an example. And for-profit cons have their own benefits, such as leveraging more experienced staff and better consistency over time as a result of staff retention. It really comes down to the details and the competency and experience of the leadership of those organizations.

And yes, this means read up on the history. But that alone is probably not enough–look for trends. Farm their official forums (if available). Use Google to your advantage. There are sites that track cons. Talk to people who went to those cons in the past. One thing I realize is that a lot of small cons are poorly documented, especially if they don’t have much besides the dealer’s hall. I don’t know how you would approach those cons in that case, because I don’t really do those types of cons. For anime cons, guests are generally a major indicator–oversea or not, diversity, point and purpose of guest selection all play a role in indicating if the con organizers are competent or not. It’s complicated but basically the higher profile, the more expensive, and the more rare the guests are, the harder it is to handle them and to bring them over, and more likely that the cons have some actual competent people behind it. Cosplay photography in some ways are another point of documentation, something anime cons are full of compared to the rest. I think it’s okay to stay in your comfort zone, and go to just the big cons. It doesn’t matter that much.

What matters is the ability to make an informed decision. Informed decisions require a good grasp of what you are paying for and what you get out of it. What you can get out of a con depends on what stuff you know you want out of a con. But stuff you are missing out on aren’t going to come and grab you by themselves. The goal is to get beyond the “you don’t know what you don’t know” stage of things, which I feel describes how a lot of people engage these large cons. For those of us who are getting beyond that level of engagement, then that’s the next thing–just hit up a lot of cons that have good reps, and do stuff at cons that are probably up your alley. Compare and contrast. Go to both big and small cons. A lot of people don’t go to small cons because they don’t know the difference between a good small con and a bad small con, or any small cons at all. And you can perfectly go only to the biggest cons–go to the same cons and do different things, hang out with different people at different times, and discover that mega con from a different point of view. Don’t spend all your time in line, or if you don’t line up for things, try it once. Mega cons are multifaceted things and are complicated to run, and unless you know about these components of a con, you wouldn’t even know if a con is any good even if you attended it. Maybe you’ll find something you didn’t even know you like, who knows? I think it’s perfectly rational and probably a good thing to think about spending time, effort and money going to cons and balance that with what you get out of it. I don’t know if you can call that consumerism, however. Certainly most con attendees are a far, far cry from being a good consumer in this regard, but more importantly I think they don’t care to be because they’re happy where they are. I don’t know, it’s a weird thing where you either take it not very seriously, or really seriously. There’s not much of a middle ground.