Category Archives: Conventions and Concerts

The æ„›: Million Live 8th Live Impressions

I write this just as after Aimi announced that she will take a roughly 2-month break from work activity to treat a chronic health condition, so let me start this by wishing her a speedy and complete recovery. During the final MC segment on day two, Aimi jokingly gave us her æ„› as she is christened, so the rest of us (including those also on stage at the time) joked that she is now just 美 (her stage name is 愛美 as written in Japanese). She said we can return it on White Day (or something). But, now, I wonder what she was thinking when she said that! I guess there’s the archive stream I can review.

So despite the gasp of hope we had late last year, the Omicron variant shut down Japan’s borders yet again and inside the country cases has exploded to new heights just late last week. None of that means anything compared to the power of æ„›, as in Japan’s take on Valentine’s Day. Million Live has its big number live as a Valentine’s Day event, a first, which is really just a regular concert with a Valentine Day’s theme.

So, here are thoughts about Million Live 8th. You can still watch it until the end of the week here (paid stream).

Oh, new anime teaser dropped.

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On Million 7th Reburn, Online Events

Since I only watched IDOLM@STER MILLION LIVE 7thLive Q@MP FLYER!!! Reburn (that is a mouthful) online, I did not actually travel to Fuji-Q Highlands Conifer Forest to participate in the audience. There is a world of difference between going to a concert live in person, versus watching it in the comfort of home (although I enjoyed the comfort of someone else’s home, not mine). As a fan of the franchise, and especially the live concert part of this franchise, I think there is enough in the remote viewing experience to count for something.

Anyways, I will save the pontification later. First, on ML 7th.

(I had wondered by what “Conifer Forest” meant but it gets clearer if you see it.)

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The Otakon Fundraiser

I have a lot of various feelings about Otakon generally, and it is facing an existential crisis due to COVID-19 shutting down the con and impacting its finances. No surprise–many expected the pandemic rolling into the second year to put some cons six feet under, given the way many cons are run. Naturally my feelings are, uh, mixed.

Let’s mostly put aside the execution of the Otakon fundraiser, but I need to rant a bit about it. A 401c3 US Educational Non-Profit based in Maryland is once again asking for your donations. I don’t think there is anything wrong with it at all–except that it complicates their business model as Otakon never really had to play the fundraiser game. It ran more like a normal con (for profit or otherwise) but it also did not really keep a lot of money on hand. More over, the burn rate for Otakon, as we now know through direct communication, is something like $250,000 USD per year, even during the pandemic. Those are all key details that were eventually revealed–they could disclose this important data point from the start, and that they half-ass the ask is just a reflection of a bigger problem. Those keeping tabs on Otakon’s historical financial disclosures already have a good ballpark estimate. Knowing how that con is run somewhat, it does not come as a surprise how things are coming to ahead and they need to make the savings withdraw on public sympathy.

Aforementioned bigger problem is the main problem I have with Otakon: It does not feel that the leadership has a clear focus on what to do with the con besides treading water. Maybe that is the result of the rotating committee structure, and every year feels a bit like its own thing. Maybe it’s bending over backwards a bit too much to play that straight and narrow Educational Foundation stuff.

That’s the thing. Anime conventions, from my point of view, are better compared to country clubs. A bunch of people come together, pool their money and resources (time, energy, connections, knowledge, and more) to hold a party so everyone else not running it can participate at whatever level they are comfortable with. Maybe this is walking 18 holes and not playing it. Maybe this is doing a panel on drivers, or selling golf carts, whatever. But the economics of it only works if there is critical mass, and the larger such mass the more expensive event you can put on. If you want big name guests, they are expensive and can only really happen at large cons. There are only so few of these in North America, and so few with enough credentials and networks, and can put that budget into that kind of thing. That’s my point of view anyways. I realize for many others, this is not as big of a deal, but this does roll/trickle down in that Stone Soup allegory that makes any con worth going to–the networking effect of enough draws relevant to your interests and your friends’ interests make the party happen.

As someone who’s actually been to every Otakon (East Coast ones at least) since 1998 I am kind of done with it, in that while over the years I enjoyed this con and many of the things it did, I also see that it isn’t going to really level up its game. Things also have changed a lot since 20+ years ago and it is not like there is a lack of anime cons around here. Actually, there kind of is? But only ones like Otakon’s size and overall organizational quality. It isn’t because we don’t have a scene for it, it’s more because, well, it’s not easy to run a con like that. There are many smaller cons around that do many of the things just as well as Otakon, but Otakon occupies its spot–both in the calendar and in my con spending budget (time and money).

Which is just to say, I already made my donation and I hope the best for them, but as an attendee who is somewhat invested and someone concerned about anime cons, I think replacing Otakon with whatever that will happen in the vacuum of its possible demise is likely not a net negative in the long run. It’s not just me being the usual silver-lining optimist, but I do think this con really can be renovated or something, like the BCC. Too bad COVID is either going to make that even less possible, or kill it outright. Neither is great…


Practical Eventing Problems

With the new Walkure tour announced yesterday, I think one thing is clear is that as Japan (and other first-world nations) slowly emerges from pandemic-induced shutdowns and slowdowns, the US is going to be lagging these countries in international travel allowances.

By most metrics, the USA has done a below-average job as a first-world nation in dealing with the Coronavirus. Unfortunately the price to be paid from an eventing point of view is that international travel will resume slower for Americans going to and from other countries that have successfully reduced the spread and the number of infections.

Given most big character-franchise lives tend to announce events on a 3-to-6-month rolling basis, we might be clearing the initial hurdles in Japan with events rolling out early 2021. Will oversea tourism resume in Japan? Until this happens it would be quite hard to travel there to attend any events.

Maybe you can think that once a vaccine is available things will be better. I think that’s true generally, but it would be hard to know if this extends to how tourists are going to be let in. For one, it only seems responsible to do so after the vaccines are widely available and administered, and the timeline for that is likely as long as developing the vaccine in the first place.

Perhaps it is a backstop of sorts, regardless the challenge that lies between today and those goal posts. There is that postponed Tokyo Olympics, so I think things will come to a head early 2021. Of course, I don’t think athletes and their support crews will have trouble going to Japan, but I think Japan will be economically and politically pressured to allow tourism by this summer if things are playing out to the best case scenarios.

That means the domestic events from November onward until then will be blocked for a lot of oversea fans! And that is in a best-case basis. This is not even addressing the lack of Japanese guests in oversea events (read: US cons), which is a different ball of wax with different sets of risks.

Of course, Japan is not risk-free now, nor will they be in the coming months as more of their social distancing limits are lifted. I imagine until they also get widely vaccinated, leisure gatherings will be reduced. Venues are still limited to 50% capacity for now, so we’ll see in november if this means things are really spiking–and if full-blown events are really going to happen again soon.


Case Study: ePlus complaint Open Letter

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.