Category Archives: Conventions and Concerts

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.


Autumn 2013 Thoughts and Clippings and Thoughts: NYCC Edition

Part 1 and Part 2 are what I’m after.

I am going to be at NYCC for a day, just because there are still too many interesting industry guys. Some notes about that at the bottom. First, anime!

Happy Birthday Hibs!

The surprise hit of the season at one episode has to be NouCome. Confession: of all the shows I rewatched this new season at this point, only NouCome was done just because. I rewatched parts of Kill La Kill to partake in internet arguments. I rewatched Arpeggio to cap. And that’s it. It’s a riot all the way through. I mean, your mileage will definitely vary but it had me at the handstands. It had me with the TV show in a TV show. It had me with the coodere. It had me with the maggot candy. It had me when the girl fell out of the sky and landed with a bridge. It still had me by the time Kohime was talking it up. I mean, it’s not perfect, but it’s at least a 9. From what I read it is also just the intro part of the first novel that was in episode 1. Well, don’t take my word for it.

There was a weird problem for Crunchyroll viewers with the audio. I’m not sure if it’s because of a surround sound stage issue or what. Listened to it on stereo, it wasn’t as bad as when I was playing it via the PS3 through my surround sound system.

Arpeggio is surprisingly military action stuff. It’s not a fun time at the tankery field but I like how this is serious in a full-of-holes kind of way. Scratches my Guilty Crown itch I guess? Actually it’s just playing up fanservice in the normal way. As much as I enjoyed Vividred Operations that was too much of a fetish in comparison. In a way, despite the extensive use of computer-generated animation and graphics, it felt normal. Well, there were still quite a bit of 2D stuff put on top. So it isn’t all uncanny.

Unbreakable Machine Doll… Yeah. Not bad but not much of a hook for me. Yaya comes off as a fun and slightly appealing character, and that goes a long way. Especially when she is the type of character that “pushes” it.

Yowapeda is a fun show. I like the main guy but I can’t take the rest of the bikers seriously.

Freezing is Freezing. Ironic bonus points for taking place in Alaska.

NoitaminA left! And VVV!

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NYCC 2013 – Generally speaking, this year’s con spells death for NYAF in its entirety. There are still anime-related programming but it’s basically all sponsored material, basically whatever Aniplex, Viz, FUNi or Daisuki is throwing up there. There are actually a cool list of guests from Wikia, featuring some big names. Crypton will be there. Sunrise will be there. Ryu Moto will be there. The usual vendors will be there. Getting a sketch from Ryu Moto/Bkub and GSC’s booth are the two things that excite me at all for NYCC. It’s real sad.

Food: Some local highlights this year include this pretty simple deli near my office on 35th between 7th and 8th. It’s not super special but it’s good stuff for lunch and breakfast. For more special deli stuff, try any of the 9th Ave specialty places. Sergimmo Salumeria is really good, for example. Not a sit-down place though. Well, speaking of Italian, there’s now this to scratch your crazy pizza itch.

If you have a small group and want to go to Ippudo, the Midtown West location is a good choice. But if you have more than 4 in your party then go to one of the larger places, unless you want to wait a while. I haven’t been to Totto in a while, maybe it’s time. Ramen is the one food scene that changed rapidly between last year and this year. So many quality options now.

Anyone up for dinner tonight? LOL.


Is Miku’s Future Magical?

I spent a weekend with Miku, and I’m tired as heck. The girl does know how to party though.

To celebrate her 6th birthday, the people behind what we know as the diva Miku put together a world-wide bash, focused on a big event on 8/30 at the Yokohama Arena called Magical Mirai 2013. It’s part concert, and part exhibition. Well, the pictures here probably tell more than I could.

Furufuru Future

What happened between my last comment on Magical Mirai and this post is that I attended her birthday bash at one of the delay broadcast showing via satellite (albeit delayed by a good 12 hours or so, lest we be raving at 1AM on August 30th). I actually watched a good chunk of it the night before the delay broadcast because it was being streamed live on Nico. In fact for people who can navigate Nicovideo, they can watch the 2-hour show, after the fact, here. Or you can just do what all the kids do and download it, non-kosher.

The NYC event was sold out and it got bad enough that whiffs of con funk started to percolate in the not-as-drafty-as-it-could-be indie movie theater–it was a very humid day too, which probably was what made it possible. A van with a satellite dish was parked around the corner at the venue, and this was only significant because the night before the live viewing organizers raised the possibility, via email, that the show may be cancelled due to technical problems arising from using a satellite dish. Thankfully the show was without a hitch.

Doing calls with glowsticks at a movie theater is not easy. We got in line to monopolize the back row, and that made everything possible. While in line we talked to energetic kids who traveled in to watch the show with their folks, in cosplay, with mad humidity, outside in line. It was a bit like a con except with even more tangled blue-green wigs. As per your usual Miku event, the attendees trend young, on the lower side of the average anime con-going age.

After the show we walked around the area to kill some time. One of us was a Len cosplayer but given the nature of things he didn’t draw much attention. I would say it’s surreal having him outside of Katz’s Deli but I’ve been at this gig way too many times to blink.

“Hanging out with Miku” continued at dinner where we talked shop, and again at the karaoke box where we had a blast, half of us tipsy, the other half didn’t really need the alcohol.

But you really don’t get to spend quality time with Miku (and company) until you pop in Project Diva, now available for North Americans. I have to say that the songs feels much more “textured” when you experience it through that bit of active listening. Words pop out from melodic moonrunes into things with meaning; half the time the video tells the story just as well, stuff that a dance can’t quite get things across. It’s like this Freely Tomorrow PV (straight from Mitchie M) means twice as much after playing the game. Every note during Miku’s Magical Mirai show now has more texture.

Which just reminds me of this from a while ago.

I mean, like, there’s enough Miku crap out there to be swimming in it all the time. You can make a youtube play list for days on end of Vocaloid-related materials. There are enough songs out there, pro or amateur, to fill terabytes of storage–and many of them freely available legally. And in the case of the 6th birthday live, there was enough milkshake to bring all the boys to the yard. It felt like the production team outsourced MEIKO to Tecmo or something. Safe to say, my world was permeated with this crap, at least for a weekend.

So, what does this say about Vocaloid’s magical future? I think “freely tomorrow” is kind of a good description. The sky is the limit. The problem is still that it’s the same elusive, slippery and somewhat impenetrable cultural hologram that Miku always was. It’s enjoyable but as superficial as any pop cultural trend–which is to say sometimes it’s rather deep. In Miku’s case it’s coated with the magic of being a crowd-driven, crowdsourced movement during an era where the world is changing in this exact way.

What is magical, I guess, is that there are still lots of people who are working with Miku as ways of making music and ways of expressing themselves. From cosplaying to MMDs to the actual thing (which now you can buy from Big Fish Audio for North Americans), Miku’s journey has always been magical because the way it has always relied on a crowdsource model–from a corporate POV (say hello to TOKYO MX/Crypton! And Sega, Sony, NND, and all the other sponsors at Magical Mirai 2013) it’s like the marketing engine drives itself. All they have to do is to sell CDs and DVDs and promote concerts and goods the same way they always have, and things just magically sells (like Mitchie M’s new album(lol aff. link. And like, Sadamoto drawing Miku? Is that magical or what.)). Great songs pop out of nowhere magically. Cool videos come out from NND and youtube, because people make them and it just appears. From another point of view, it’s like a short series of small miracles, where people embrace this copyleft-leaning model of sharing what is good and still able to make money because it’s exactly small and good.

But to me, what’s magical about Miku and her future is that it’s an increasingly international one. Miku’s fandom is still rather niche even in Japan, and I think these vertically-oriented silos will grow a lot if we factor in all the international fans. This is partly why English Miku is a thing. Or there’s a Mikubook. It’s just a problem about being able to make operating in this international, multi-lingual way work for the entities involved. To me, it’s magical that Miku’s Magical Mirai had a world simulcast of sorts. With English promos. What other 2D Japanese fandom does this?

PS. The King Blade X10 Mk.IIs are every bit they are hyped up to be. Miku tested, omo approved. Highly recommended!