Category Archives: Modern Visual Culture

February 7, 2025

Togenashi Togeari’s Winning Formula

By omo

In the 21st century, there are few bigger “modern visual culture” developments on the Japanese side of the thing than 2.5D. What more can we ask for to employ the entire cache of cultural and industrial (it’s not just “geinokai,” it’s pipelines?) expertise of the show business by blowing up cartoon characters with the breath of (human) life, giving them likeness unto ourselves? In short, it’s about plays (the old fashion kind, done on a stage) based on novels, games, anime, and manga. In this particular case, we are talking about a media-mix franchise that is original, which yielded a manga and anime series, which boils down into a 5-piece band that are played by the humans behind the respective character voices themselves.

This is the ultimate dream-come-true. It is great that Minako Kotobuki can go at the keyboard from her Kyoto Animation gigs in the late ’00s, but it took a few more years before Aki Toyosaki can strum the guitar in any respectable way in front of a paying crowd. The K-ON generation pointed out to everyone that, well, there was even a K-ON generation to begin with. This girls band dream took shape later when the then-IM@S-Producer-lore-turn-yet-into-another-BanG-Dream-cover-song AIMI played guitar for the character Julia, launching the idea that we should just make a whole media mix video game thing. Nearly 10 years later, BanG Dream continues to own this segment and capture the dreams and discretionary spending of kids and adults all over the place.

I say kids, because at Togenashi Togeari’s one-man live on Feb. 7, 2025 at Pacifico Yokohama, I saw a teen with her mother a few rows in front of me at the show. This was Togetoge’s (henceforth) first solo show in a theater. It’s a stretch because they previously played at bigger venues (even moonlighting at Anisama 2024). As a band that started in 2023, they already have a show at the Nippon Budokan in September 2025.

My seatmate and I talked during the 20-minute intermission at the Togetoge show, and we talked about how TrySail has a show coming up in a few weeks at also Nippon Budokan, which is their first time at that venue, celebrating their 10th year as a unit. It served unintentionally as a nice contrast because both of us thought, after the announcement of Togetoge’s Budokan show at the end of the concert, that it was really soon. Maybe even too soon. I don’t think it is inappropriate at any event, too soon or not, because this is a great example of marketing striking the iron while it is hot.

What is hot? Togetoge is currently the best all-around incarnation of the girl band dreams media mix projects. This time we have something that is rock and roll at the core, a high school dropout meets a high school delinquent? It is hilariously traditional but it is packaged with that Bang Dream trapping that it goes down just as smooth. Except this time it’s got some fiber to go along with that rock-n-roll caloric intake. The much less substantive ball of fun that is the usual BanG Dream bands pre-MyGO!!!!! definitely still is the rule of the land, but within the rules, Togetoge is brand new and growing fast. China loves this stuff. MyGO hit a home run over there, but I think so did Togetoge, it’s just there isn’t a vast network of cover-song-rhythm-gamers already covering it. There’s something about starting mostly from scratch, as it were.

And this is why you can get to Budokan too soon. It took BanG Dream a few years too (and also probably too soon by some standards). It’s hot, strike it while the iron is hot. It’s BanG Dream v2. It is definitely the “more taste less calories” version in the 2.5D.

Of course, more discerning people (or anyone FWIW) can have differing opinions on this. In person, I already saw a big improvement in the playing and showsmanship of Togetoge from their Anisama 2024 appearance. Granted two members are still on hiatus, so we have pros playing the drums and on keys–the vibe I get is that now the three cast members are actually showboating, playing their roles, having fun while knowing they’ve got “training wheels” on drums and keys. It’s the best 2.5D. Compared to MyGO or Ave Mujica, those people are in a play and we are just along for the ride. Maybe you prefer that. I prefer my girls bands be bands first and stage actors second, if you can tell the difference. This is what makes RAS great and Popipa forever best in a live house or on the streets and probably not nowhere else. Or, you can be like the eternally popular Roselia–just not be a girls band at all. (I guess this applies to some other groups I omitted also.)

Girls Band Cry is rock. I think MyGO too. My bones with BanG Dream is that they created a good thing–MyGO anime–and then promptly carved this square peg into a round peg to put the media mix machine’s round holes. Maybe the kids love all the drama, but to me that is second (and naturally flows from) to the core idea of having relevant conflicts in stories. And if the driver of that is because someone’s mom died, we be in B-rated Korean drama territory. At least give me B-rated Japanese cinema tropes (that is GBC).

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January 20, 2025

Gundam GQuuuuuuX First Impressions

By omo

It’s hard to not spoil in this post, so I will make a page break and warning. Unfortunately it is also a spoiler for this piece of advice for the un-spoilt: go in blind if you can. That knowledge itself is a form of spoiler. I think also once the gig is up from Gundam GQuuuuuuX (pronounced like G-quacks) you’ll know there is actually another form of helpful knowledge one can possess before watching, which I will discuss after the spoiler jump.

One thing is for sure, if you enjoy the output of Studio Khara in the past several years, you’ll enjoy this work. The direction is signature Tsurumaki where it counts. In fact some scenes felt straight out of FLCL. This is also, well, a Gundam work that fully embraces the ethos and vibes of other similar alt-timeline Gundam shows. You really know the old timers of former Gainax worked on this, knowing full well what a Gundam title means to them and fans of that generation. Actually as I was going through the end credit roll there were quite a few names I recognize, which kinda sucks that I can’t just go back and reference that easily. The pamphlet doesn’t even have all the credits, but it was surely impressive.

What I watched was the first episode in a theatrical screening, which is coming to America on Feb. 28, 2025 via GKIDS. Rather, I watched it in Japan a few days after it premiered in Japan, so my understanding of both Japanese and Gundam is heavily tested in this experience, to say the least. The rest of Gundam GQuuuuuuX will be a TV anime that begins streaming/airing later in 2025. And for completeness, I saw it in IMAX (wonder if we will have this option in America…?) and the episode was presented as one seamless thing. Maybe it’s just a 90-min pilot instead of 3 episodes, I don’t know.

Also as trivia, after my showing I went to the theater shop to browse for merch. This was at the TOHO Cinema in Hibiya. Turns out a bunch of people were also trying to buy stuff, namely the Gundam GQuuuuuuX pamphlet. So I got to hear a bunch of Japanese people trying to pronounce GQuuuuuuX. Guess what, they can’t either.

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December 30, 2024

2024 Travelogue, 2025 Outlook

By omo

With a new IDOLM@STER game grabbing my interest, it’s not too surprising the blog is in this hiatus-like state. Still I have ideas, and they must exit the system and go somewhere. Anyways, the holiday season is a good time to recap some stuff.

In 2023 I thought the cons in the USA would strike back from the COVID days in 2024. The State department has done a lot to shorten the visa times, but there are still some problems with that. With the political situation in the US being what it is, it’s probably more realistic to expect some hits in the next few years in terms of difficulties surrounding visa processing. But coming back to the last 12 months, some big cons did come through (AX, Animazement), but others didn’t (Anime NYC, and to an extent AWA). Some cons seemed more modest in terms of their steps forward (Acen, Sakuracon), while others were interesting to say the least (Kawaiikon, SoJ Miami, Holmats). Rather diving into each case, it’s just good to note many Japanese acts and events happened outside of the big cons also, like the One Piece concerts, or the Anime Orchestra thing (I didn’t end up going to). There were the Ado and Yoasobi tours, which to me were just as big of a deal. I didn’t get tickets to see Fujii Kaze, but that sounded great. There were also the Nier concerts, and Joe came back to MSG NYC. All of this is just some of the large number of anime-interested stuff building on top of what we already have.

I didn’t think anime cons in the US did all that much given the post-COVID bounce. I think part of this is fundamentally, anime events still haven’t recovered from COVID in a lot of ways. Texas cons suffered this year, with most notable AnimeFest and A-Kon shuttering. Canadian cons though, they cooked pretty hard. Edmonton and Vancouver especially was pretty great. Even Ottawa and Montreal did OK. Toronto was a weird vacuum, which is probably also due to the organization side not bouncing back.

Inflationary pressure and overall tourism bouncing back to pre-COVID numbers also did a lot to temper traveling in my experience. Japan experienced over-tourism at its key tourist traps out near Mt. Fuji and around Kyoto’s picturesque streets, and elsewhere. I don’t blame the locals trying to tamper it down using new laws and regulations, but everyone else, including the local hospitality industries, are still adjusting to the new normal. It’s hard to say 2025 will be any better–odds are it isn’t going to, especially with the continuing weakening of the Yen versus other currencies.

Yes, this makes me less wanting to go to Japan, but the people out at Bandai Namco has other ideas. I am not going to the Aqours final solo show in June, because I am already over-committed for the first half of 2025. I have already needing to sacrifice the Kanno NYC show at the end of March for Hotchpotch. There is already 2 weekends I wanted to go in the summer, not counting the annual Anisama festival.

Speaking of summer, the summer of 2024 was pretty brutal, and I expect the same for 2025 already. I logged like non-stop weekend travel for about 7 weeks this year, or 13 out of 15 if you include a 2-week gap I had, even if some were for family and vacation trips. For 2025, from Acen onward I probably will also have back-to-back weekends of traveling again, depending on if I go anywhere in June. July will have AX, which I probably should start booking now. July-August will have the usual gauntlet of summer cons, plus 2 weekends of IDOLM@STER events. I really should cut Anisama this year but that can wait until March…

Which is to say, like 2024, I welcome 2025 with worn vigor and tempered excitement. I think if Japan wanted to, they can do better than to bring Phantom Siita, and generate some real excitement. It’s the US-side of things that are the cold water pouring out to show the harsh reality of the domestic side. I’m glad people like Ado want to play along though. Someone has to stir the pot.

Happy holidays and hope to write more in 2025. Meanwhile I have a lot of anime to catch up.

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August 23, 2024

Spirit of Japan Miami 2024: Wrap

By omo

Spirit of Japan Miami is a first-year convention at Miami Beach. Literally located in the big con center (that was renovated last decade) just to the side of South Beach, this new con brought big con guests which drew people like myself. It also is the Funko Pop Private Signing Wonderland that you might have heard about. Still I got to see Fruits Zipper and that made things all OK? Maybe.

The story really started at around AX time, because Sayaka Ohara went to AX and I want her to sign my Aria stuff, naturally. Of course, because MangaGamer, it couldn’t be done there, nor did I get a ticket anyway due to POS fail at MG booth first day of AX. I didn’t really get a chance to go back to do that either. So I said to my self, “Ohara is going to this first-year con in Miami, let’s just do that.” So I did.

I didn’t think much about Hiroaki Hirata much, or that Yuki Kaji will do a zoom panel there. Then the con added Ryo Horikawa, who is a staple of this kind of events nowadays. Oh, Burnout Syndrome? I guess Fake Star is involved. Then there was Satomi Akesaka??? Fruits Zipper???? Wow they called in that A-Kon rain check! Wow Diana Garnet (again)! The list is impressive say the least, not to mention for a first-year con.

Turns out, this con is largely run by One Guy who is a Japanese-American business man who really want to bring the stuff he loves together. The face he made when talking about Yui-chan on Sunday says it all. I was able to talk to him briefly and it was pretty fun to see this sort of thing being thrown down.

The event is a combination of a cultural festival and a pop cultural con. There was a “dealer room” setup with AA art walls and random lifestyle brands, mixed in there some vendors with merch. And by merch, I just mean walls of Funkos. There was a board game part with tournaments. There is a corner with actual arcade games and a few playstations set up. I give them props for that. There is also just a corner with all the autographs, across from the one and only stage. Lastly the entrance and exit is right by the cultural booths where you can learn tea ceremony (I wanted this but it didn’t pan out time-wise), wear a yukata, learn to draw manga, calligraphy, and what have you. There is also a sake tasting thing in a corner that is gated (of course).

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July 10, 2024

Anime Expo 2024: Wrap

By omo

I didn’t blog about AX2023 because it was not a good con, despite the best we made of it. Thankfully, the 2024 version of Anime Expo was much improved.

The new layout meant that people are more spread out. Additional entrances meant people flowed into the con during peak hour quickly–it took me about 30 minutes on Thursday around 9 in the morning. The exhibit hall pushed more vendors into the AA hall (Kantia) and spaced things out more. The R18 vendors also moved downstairs. It was easier to get around the hall than ever.

The badge-required space at the LACC expanded to include all of the front yard along Figuroa. The cross street by the Crypto.com Arena also belonged to AX for the entire time, not just on the weekend. It added more food vendor, drift space, and they put more performers there.

The autograph system moved online, and even after the snafu on day one when the printers failed, going barcode and ID check has been way superior. It seems even day-of tickets were distributed using showclix and email. The gnashing of teeth that was the 4pm-8am camp of yesteryear is done. We still got nasties like this but I am so thankful of these improvements. That said I only got a Kawamori Shoji autograph out of all this, because I didn’t really try for the others. I probably could have snatched one from Arifureta though…

In terms of content, we are closer than ever to Anime Japan on the industry track side, and there were still room for fan panels and side content to flourish. I think this year AX really struck that balance really well with the street MJ gang. There were rave/concerts from day 0 to day 5 of AX. I particularly enjoyed the One Piece Orchestra where Kouhei Tanaka belted out We Are along with Kitadani Hiroshi while the audience also sang along. Moments of Anibash reminded me of Mogra so much seeing Mizushima in the back vibing lol. It was chill and fun mixing during Constellation vol 5 on Monday, which gave me an excuse to hang out with local homies during the day on Monday/Tuesday. Hamu is amazing as usual, along with Teddy (a good set from him!) and Kotono House (the set was too mainstream for me but technically impressive).

Uma EN was a huge thing for me on my list at AX so I hit that Cygames booth the first thing on Thursday. I took videos of the whole thing but I think there’s no need to put it up anywhere, you can find it fine on Youtube. Cygames also had the party game in demo so I tried that, which is fun enough. That said Umamuusme fans are great, especially when I know half of these goofs having a blast.

I was able to drop by the usual IM@S gathering and appreciate a Matsuri cosplayer. Is this the power of anime?

On the industry side, it was wild seeing Sumipe doing her oversea stuff. Numerous others crossed path at the Entertainment Hall (like the gang promoting HypMic or moments when Mamo and KENN crossed path)? Sumipe’s anniversary panel allowed for photos at the end. She also ran into the crowd to hi-five people along the aisle. It was unhinged and fun. She also lucked out into a signed t-shirt for a fan.

I was able to see Seto Asami in person for the first time at AX, that was great. I also went to a talk from Aviot featuring Hirose Yuya and Wakayama Shion, which is this brand shilling character-voice earphones and headphones. They sponsored Kawamori also, along with two of the Gridman voice actors, so I saw them talk about Gridman and the Gridman headsets you can buy.

Otherwise, it still take some prerequisite camp time for every panel so it was hard to drift to multiple panels. In addition the schedule just had a lot of conflicts, so I literally saw Kuwahara Yuuki for about 60 seconds and Kito Akari for about 30 minutes. My greatest regret was skipping the Bocchi the Rock panel to go see the Game.

I watch MLB games casually so it was always on my list to hit up Dodger Stadium once. I go to LA often enough as is (second trip this year). When the Hololive collab dropped on AX Friday it was a sensible choice. It clashed with Anibash but the DJs I wanted to see was late in the day anyway. Then Aniplex dropped the shoe with Yoppi… Anyways, I don’t really regret it, the game was fun–Will Smith solo-dinging the Dodgers back from a Brewers Grand Slam was fun, and the home crowd responded well to the comeback win. What was less, well, well, was the massive buppan line for the Hololive collab merch. The baseball cards you get from going to the game sold for thousands of dollars on JP Mercari. It was wild. My friends stayed in the line for hours to get some shirts, and seems like the line to sell those shirts and hat went from gates opening until gates closed and people were kicked out.

The drone show was great, so was letting the fans go on the field. What does it take to have a Gindaco in Yankee Stadium! Seeing and hearing Suisei (and Inotac lol) at a MLB game was surreal. Thanks LA Dodgers, I hope you learned your lesson and have more than 8 cashiers next time you do a Hololive collab.

I made time to drop by the Akiba Maid Wars collab cafe at Asayoru Little Tokyo Sunday, because there was zero conflicts on Sunday–there was literally nothing to do but maybe gawk at the charity auction. In fact we went to karaoke with friends until pretty late after the con closed. Anyways, the collab cafe was impressive, and Asayoru did a good job. Shoutout to our maid, Nana. I enjoyed the extended cosplay skit as it were.

In conclusion, AX2024 actually became not terrible. I always ding AX being the worst anime con in the USA because it’s a safety hazard from crowding and heat. This year it did much better on the first and somewhat on the second–still EMS had to come in for the CDawgVA/Ironmouse line, and someone passed out at the Cygames booth on Thursday (probably from exhaustion entering the con). It’s a big con, stuff like this does happen. But it’s all the more important that AX gets the fundamentals right. This year it seems it has taken a major leap away from the designation of “worst con” but time will tell how much better it can get.

Leave a comment | posted in Modern Visual Culture