Category Archives: Conventions and Concerts

Ayako Kawasumi Otakon 2006 Redux

Ayako Kawasumi

The least I could do for my fellow seiyuu fans is to do a brief retelling of the Kawasumi panel at Otakon. You probably can find other retellings out there, but I’ll try to add more and flesh it out. Anyways, it has been only 8 days since the panel, so we’ll bound to see more (especially press coverages) in the coming months.

I do have to apologize, though. I spent a good amount of the time at the panel standing really close to the front, where the acoustics sucked. I missed out on some stuff, as a result. In fact, both of Otakon’s 400-level panel rooms had the same problem: it was very difficult to hear what the sound system is piping through if you sit at the very front, or on the panel. Actually in terms of the Kawasumi panel, the result was that the Q&A session was done AX-style–everyone lined up at the mic in front and we fired questions from the front of the line. Basically, we just walked right up to Kawasumi and The Ukulele Translator Guy (“Taka“) and delivered our requests and questions at a close proximity.

Also, since there were no flash photography to be had, pictures were not so easy to come by–good ones at least. The ones you see in this post are all props to Sapphire & Co. with the assist. I didn’t get any good ones….well. Short story which I’ll recite below.

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Trap-chan, Fanboy, Tool, Punk’d, and DQ – A Convention Primer

You call this a Roberta cosplay? Shame.

Another way to look at a con, from a top-down framework, is how anime cons serve several purposes across the board. I’m going to try to list the most prominent and attractive reasons here in an archtypical form, but who knows, some people come to cons for very specific things sometimes. Anyways, the follow framework basically categorizes the average con-going crowd into 5 types, and one could describe the population of each con event with these categories. It’s possible that one person exhibit multiple, even all of these traits. However generally there will be one guiding, overpowering tendency–or else how would you know which panel/event to go to?

The Cosplayer. The general trend in anime cons in the US is that cosplaying is a necessity. This is actually a divergence with cons in Japan where cosplay is a very distinct activity either as a means or as an end. Today, con cosplay has gotten to the point that anyone can cosplay and go about doing any kind of thing. Crossed with other activities such as doing a skit at the masquerade, a hall costuming contest, LARP, or even just for meetups, the cosplayer is ultimately engrossed with costuming. In as much as race cars are meant to be raced, a con is a race for those well-oiled costumes. Ahem. Of course more traditional use of cosplay as booth-babe-age also happens, even in Artist Alleys type places. Some do it for only the attention whoring aspects. There are also a lot of people cosplaying just for the giggles, but 9 out of 10 of those are crap cosplays or creepy old people.

+: They give anime cons its flavor. They’re dedicated (it takes work to get a costume together!), and generally pleasant.
-: They tend to be attention whores, and prone to drama. Also too many cosplays just suck these days.

The Fanboy. It’s hard to find people who are very much so in this category, but often times these types exhibit signs of obsession. They would line up for a certain event at the expense of other, leisurely fun things to do. They have 1-track minds when it comes to *the thing* they attend a con for. Like the typical fangirl at a Yoshiki autographing session. Or my French friend who’d travel to the US just to see KOTOKO. Honestly, they’re generally a good group and they make cons fun for everyone; on the flip side they can also manifest for the worst, and all it takes is just a couple bad ones to ruin some event.

+: They’re the ones that cons are meant to cater to in the first place. They welcome our guests of honor and gives everyone something to talk about. Also dedicated, but only to their respective fans and whatever they worship.
-: Too much dedication makes a certain event difficult to access for normal people. Need to shower more. Scares normal people.

The Cruiser. I’m probably squarely in this category half of the time. We go to cons for what a con is–its programming. We browse through the cosplayers much like how we go through a stack of promo posters at the dealer’s room. We go from one panel to another. Depending on how hardcore you are about it, you could take it easy and even go visit the local attraction when traveling to a faraway con. Taking time to eat, rest, and even go to bed early if there’s nothing interesting going on at the end of a tired day. Lining up for the masquerade is something we do out of tradition, and we always have a blast at the AMV showing. The sad thing about this group is that they are not too passionate about everything, even when hanging out with friends.

+: They’re the bulk of con goers. Relatively normal.
-: Often conceited and selfish, prone to burn-outs at cons because they’re just here, and not for something specific. Make dealer’s room line really, really long.

The /b/-tard. I use this word not only in the familiar 4chan.org sense, but in general. Cons provides a context that not unlike how 4chan provides a context for anonymous posters of random pictures. With decreased inhibition from peer behavior, lack of sleep, use of certain substances, what have you, they may go around glomping random people, hold up stupid signs, mosh at the wrong time, whatever. Elevated case can involve inappropriate crossplaying and other kind of stuff you don’t want to know.

+: They’re funny.
-: They’re jerks.

The Social Butterfly. This is the type of people who comes to con just to socialize. They could be any of the above categories, but that’s what keeps the coming to cons. Usually also because it’s just a lot of fun to watch /b/-tards make fun of themselves, and it keeps them up to date with what’s going on. These social people are often veteran con-goers, and can resemble late stages of a burnt-out Cruiser or Cosplayer. Sometimes a very dedicated fanboy could also be at a con purely to socialize outside of seeing only 1 event. Sometimes this can describe certain con staffers!

+: They make cons worth coming to year after year, despite the change in programming.
-: They can get in the way if you’re one of the other type of con-goers. Also drama-prone.

To me, ultimately anime cons are giant parties, or a congolmeration of several parties strung together, both chronologically and geographically. Compatible people hang out in each of the party types. For example Saturday night, you have your Cruisers and Cosplayers and Social people at the masquerade, with some /b/-tards. Rest of the Cruisers will be out at dinner with other social people. Some Cruisers with Fanboy leanings will be with other Fanboys at the programming they’re interested in, along with /b/-tards doing whatever they can get away with in the halls hanging out with other Cosplayers not doing the Masquerade. At a panel like 4chan, you get a good mix of Fanboys, /b/-tards, and Cruisers who reads 4chan. At a panel like Geneon After Dark, however, it’ll be mostly just Fanboys and whichever Cruisers are still not tired at that point. The Social Butterflies are probably at various room parties, hanging out at the hotels, or karaoke. It’s party-after-party-after-party like an endless game of musical chairs.

With the framework laid out, there is one thing on my mind that you can use it for–to plan your next con-going experience for maximum profit! If you want to skip lines, pick ones with the least Cruisers. If you want a lot of LOL, go to the /b/-tard things or one with a lot of Fanboys. If you want some con atmosphere, hang out with the Cosplayers. And always, have some Social Butterflies in your con networking map. If you want to know what’s hot and what’s not, ask a Fanboy, a Butterfly with fanboy tendencies, or an expert Cruiser. If you want to stay safe, stay away from the /b/-tard things.

I hope this is helpful.


Geneon After Dark or The Alternative Dimension of Licensing Hell

When the day ends, you hang up your coat, put your guns away, lean back, feet up, and air out your tiredness. We did that at Geneon After Dark.

Unlimited Corny Jokes Works ALL THE TIME!

Geneon After Dark is the name of the panel Geneon used to describe their 1am Otakon 2006 industry Q&A where cuffs are mostly off and the fanboy producers (and fangirls) giggled with us. I rather liked it last year when I went crazy and committed various forms of idolatry against Nana Mizuki. Speaking of which, I did forget to reiterate the question why there’s no movement on that front…

The panel itself is fairly simple. We sat, they pitched a trailer, they solicit a few questions regarding that thing, we raise our hands and get picked, we ask, they answer, and we get a free item. Rinse and repeat. A few clips later they opened up to general questions, but we had videos to see all throughout the panel including the Hellsing Ep2 previews. The floor opened up a lot more after we saw that.

The freebies they gave away were pretty good. I think I was the 3rd person to get picked so I had a wide variety of choices–piles of scrolls and t-shirts, and a lot of random stuff. It was sad, though, because the only thing I want I can’t have (a box of autographed incest given to some Hellsing fan), and the second thing I wanted is…from Kyo Kara Maou. Yes, a shoujo anime that I don’t even watch. It was a tin of something. I decided to just go for my 3rd pick, at least it’s g. I would say “damn you” for getting that Fuu figure, but I don’t even want it that much.

I think a big problem with a gathering attempt like this is that some of the audience are just plainly clueless. If you didn’t know what Black Lagoon was at that panel, well, that might be the sign to you that you need a clue before opening your mouth; let alone ask a long-winded question that makes no sense and cut into Q&A time. On the other hand a lot of the audience very much keyed-on when it comes to pointed questions, so props to them. I think this really shows especially when nearing the end of the panel I feel a lot of us were just dying to simply get some plain Q&A, but with the freebie-giving-away in the way we couldn’t get the questions out and have that dialogue going unless you’re a knowingly-rude person like me who does it because it’s supposed to be done. Terry(?) was the Geneon guy picking hands and he was trying to get to everyone who hasn’t had something–nice try but bleh. People were just raising their hands and asking dumb questions to get stuff. Since the panel didn’t conclude until 2:30, I was mad tired and didn’t want to stay around to hear all the chit chat post-panel, partly because the Good-Question-to-Bad ratio is probably too high, and I am just done airing my laundry for the day.

That said, I did stay for a couple round with…that other producer guy. I would have made my rounds to Stephen but he was pretty busy with the music people and I didn’t want to line up. And that brings us to our real topical point:

No one will ever license Futakoi Alternative.

If you recall, Geneon licensed UFOTable’s “big hit” Dokkoida. And you might also notice, if you pay attention to hype and fan clamoring, Dokkoida isn’t exactly a hot title. I think even in the fansub-sphere it didn’t make a lot of noise. Or much of noise at all. A speedy sub was all that was left in the path of an excellent but sadly forgettable show for most people, it would seem. What’s wrong with UFOTable? What’s wrong with you (who did not buy Dokkoida yet)? That’s not a big deal compared to what awaits Futakoi Alternative.

The brief conversation we had with…ugh, what’s his face next to Terry? Sorry for not remembering your name at 2am in the morning. In any event, said Geneon Guy professed his love for Dokkoida?! (and o/ for you brother) earlier which reminded me about Futakoi Alternative, one of the few titles I hunker for license-age. Naturally I brought up the topic later and he countered with something like “Well, the Japanese licenser will probably want to sell Futakoi too, and I don’t know about you but Futakoi is…”

A-yep. Futakoi is, yeah. Not a title Geneon would really like to license, at any rate.

So there we have it. It’s not the same kind of licensing hell Macross Zero is stuck in. It’s definitely not the same kind of licensing hell that Random Shoujo Series is stuck in, but that one might affect Futakoi Alternative indirectly if Dokkoida just doesn’t do well enough to justify it from the bottom line. In retrospect this situation probably has played itself out in the earlier years of fandom especially with game licenses. How do you get a “Tsukihime” without a “Tsukibako” anyways, right? How did businesses overcome that? I suppose licensing two shows is different than licensing one and ignoring the game counterpart.

More importantly, just what do we fans have to do to get a piece of it? Sucker a company, or wait for one, to license Futakoi vanilla first? I don’t really like the idea of that, but it might be the only thing left to do. Got any bright ideas for us threesome fans?

Certainly no more “Alternative” shows! Unless the original isn’t crap, anyways.


Otakon 2006: An Average Story about a Convention

If words were enough to describe this convention, I wouldn’t need pictures. Even if words were enough, I’d still use pictures because I am lazy.

I was a Harutard

But some words are necessary. Like tags. Could be chronological:
Hot Thursday prereg, drinking, dinner, drinking; hot friday lineup, ticket, sat in line and watch anime, dealers, eat, Nobuteru panel, Madhouse panel, eat alone, concert, karaoke; Saturday ticket, dealers, Kawasumi panel, autograph, karaoke, fate meet, concert, mt meet, Geneon, Hellsing, dinner, art gallery, 4chan, Geneon panel; sunday karaoke, art gallery, hotel crap, karaoke, lunch, karaoke, home.

Or more descriptive:
Haruhi-tard, ETERNAL BLAZE, Hottest. Otakon. Ever., Kawasumi Ayako, Lafiel, Mahoro, Trap-chan, Raptor Jesus, Getsumei Fuuei, MUCC, fatigue, NO U, Free Stuff, Mihata no Moto ni, Pictochat, Geneon, Dan Kim, Futakoi Alternative, Touhou, Ever17, waiting in line, Nobuteru Yuuki, Nakazawa Kazuto, God Bless…

There were the usual amount of cosplaying. Without beating around the bush anymore, you can click on these links at your own risk. Traps, you know. I think the variety this year matches more my expectation from last year than this year.

A good meme from the con to recall is Web 2.0. It’s amusing how much I’ve changed in doing an otakon write-up over the last 9 years. And yet I’ve done it every time save my first Otakon, in a blog form. Instead of AMVs maybe I’ll do a trip down memory lane kind of thing. Some things, despite age, just don’t change time and time again.

Like hitting traffic on the NJ Turnpike.

But there are still stories left to be told of our battle last weekend. Yours and mine. Like how karaoke post MUCC concert means you can’t hear the monitor too well. Or our Canadian friend makes one helluva Trap-chan. Or how 4chan manages to transform time and space and bring anonymity to a convention line. Or how the panels I missed out I wish I could attend, or watch videos of. Or how I asked about Lafiel, and made a fool out of myself at the Kawasumi panel. Or how people should do more Nana Mizuki songs at the karaoke. Or just how much fun we had, or how we wish you were there, too.

I was actually looking for Os on Friday–imagine we were all in the Mad House panel

Perhaps one more notable point to it all is how my friends played into the picture. There was a major blurring between my RL friends, different circles of RL friends, internet friends, and random people. It’s good to know people who know people but knowing so many people can make things difficult. This year marks a good, sharp distinction between people who I consider “con buddies” with “visiting friends” and “groupies.” It’s so important to have all three. Just don’t mix them up in the wrong categories… And keeping the right kind of stories to the right kind of crowd :)

And on that note, I wish you all would show at Otakon next year, because I have high hopes…


Fangirls: Don’t Leave Home without Them!

In anime blogging terms, Otakon (and several other cons like it) is a wellspring of ideas. You can write a long article on Kanaria DX, but for a con-goer you could also write a long article on just finding Kanaria, trying to haggle price on it, fail and come back the next day and bite the bullet, then take pictures of it with Kanaria cosplayers and finish it with a parody sketch of Vita hammering down on Nana or something equally nonsensical. Now multiply that by fifteen or something.

Thanks, Dan Kim!

Yet at the same time, American-style anime cons are not for everyone. Even as fans, we cling onto different ideas of what it means as a fan, what motivates us to act like a gaggle of idiots, and what makes us shell out the big bucks. Even what makes memorable memories vary from one fanboy to another. I respect that.

To that end, that is why I love fangirls at cons. Don’t get me wrong; more often than not they are bringers of headache and long waits. They’re the kind of people who would wait 8 hours in line, overnight, for a Seki Tomokazu autograph (and well worth it, I say). They may also be kind of self-absorbed and singled minded to the extent that they behave like a scary mob of … fangirlness in which levels everything in their path on their way to rush from one line to the next. It’s hard to talk nice about fangirls unless you’re just as equally self-absorbed to care. However, in the context of an anime con in the US, they fit right in.

Especially at the right types of musical venues.

I’m not sure how many people are at all aware the plight LOAE and his cohorts had in order to “get it right” for a certain variety of musical guests. Some concerts are the type you sit down and listen, like PLAY (I would’ve, could’ve, didn’t)–an orchestral rendition of pop video game music hits. Some concerts are the type you want to stand up sometimes (Kanno Yoko‘s piano interludes). Some concerts have seats but you’re not suppose to use them if you can help it (Yoko Ishida), and the rest you are just suppose to stand (any kind of Jrock, or MUCC for this con).

When we have these strange yet wonderful Japanese musical guests at anime cons, the problem is this: a lot of people at the con, and attending the musical events, just don’t know what sort of a show it may be. Unless you live near a major city, too, you are probably a tad shy in terms of concert-going experience. It’s not like going to a movie theatre–most people don’t hit up musical venues in their spare time unless you live in real proximity to them, or chase concerts like, well, a fangirl. A two-tier problem.

On top of the fact that an anime con is really a conglomeration of many kinds of fans with many different kinds of programming, shy of bands like L’arc~en~Ciel, you will really only be reaching a very specific audience segment. Even artists like Yoko Ishida or other more “mainstream fanboy” is going to shoot short of gathering the right kind of crowd. The MUCC concerts at Otakon this year are a good demonstration of this problem, and partially, the solution.

1. The right venue. Just to get it out of the way, the Powerplant sucks–to walk to it requires going around some really seedy parts of Inner Harbor, plus this is still probably the Hottest. Otakon. Ever so I really wanted to spare both my back the heat, and my feet the wear–it’s about a 15-minute powerwalk. Both times I did it I was doing it upstream of a bunch of Yankee fans, too. Generally a blah experience. Still, a proper musical venue is a must. I remember seeing a bunch of punk kids at ACen’s SID concert. No. Even worse was BOA (the UK band) at Otakon back in 2000. No no no. You need the right venue like Ram’s Head for a band like them. It REALLY makes a HUUUUUUUUGE difference.

2. The crowd. Friday night’s MUCC show with Nana Kitade opening was probably MUCC’s best performance out of the two. They were high and mightily powerful, and probably not exhausted yet. But the crowd on Saturday was about 10 times easier to work with. Part of the cause, I imagine, was because of Nana Kitade. She draws a radically different crowd, although I think some fangirls do like her as well. While I may be a gothloli fan, I don’t really like gothloli culture at all, and she’s all about that. I’d say about half of the crowd was into the show overall during MUCC’s gig, and the other half were just there. The hardcore fangirls took the lead and there were even some mild moshing, but it’s nothing compared to Saturday’s crowd. People were broken in, the fans were more organized, and people who can’t bother with cheering just didn’t go through the added effort to come to the show again.

3. The repeated showing. Having two separate shows probably helped sifting through the fans as well as giving everyone a chance to get familiar in terms of what to do at their shows. The second show may be a lot more tiresome for the artists, it was just a better fan response. I think just between Friday and Saturday Kitade’s fanbase at the con doubled, so go her. It probably helps that her hair didn’t get tangled up with the guitar the second day.

In that conventions in the US have been getting musical guests for some time now, these considerations are nothing new. I’m well aware that cons have bigger worries and other restraint too, making these things simply not possible sometimes. But it makes a huge difference, especially when we’re talking about a band that’s playing in a foreign language, from a foreign culture, and don’t have the resources to play the crowd like how a big shot stadium-like concert can.

I think for the rest of this week I’ll try to squeeze in as much Otakon-related entries as I can, so please look forward to that!