There’s a handful of seiyuu photo books coming out and I just want to list them here. Maybe you will find it useful.
Chihara Minori’s Hawaii photobook likely has the fruits of her recent trip there. She did it as a fanclub tour package too, so it will be extra nice for those folks who made the trip. Personally, it felt like just last year which I got her 10th anniversary book.
On the opposite end of the spectrum you have Million Live center CV Yamazaki Haruka, putting out her first proper photo book. It is more of your typical sophomore product designed by the voice actress, featuring her in various situational outfits. It’s also only available at some shops only, like Minorin’s.
Koiwai Kotori, who might be best known as a MENSA member and the voice behind Nyan-pasu, is now also well-known audiophile in recent year(s). She’s done a lot of stuff the past couple years promoting personal audio equipment, doing ASMR stuff, DJ-ing and even writing songs. When she’s not plugging crowdfunding projects or recommending BT IEMs on twitter, she’s shilling her own IEM pads. Seems like her upcoming photo book will feature her and all her personal collection of earphones. It’s got a wide release.
In the age of Stan and Waifu, there has long been many different ways to say “love” in all sorts of contexts; forget about the Alaskan words for snow (it’s an urban legend of sorts anyway). The way the Greeks did it is what I was weaned on but in this day and age there are more ways to say the same things than ever. And it has been always the case as far as history went.
It just dawned on me on a practical difference between what IM@S Ps say “tantou” versus which idols a producer may simply like. To some Ps, there are no differences between the two. To others, they are entirely different things. And from where I stand there are no wrong ways to go about it.
(“Tantou” here means “in charge of.” A producer is someone in a position of responsibility over a project. In this case, it’s an artist or idol. It is not unusual for IDOLM@STER content to put the producer in charge of a project in which artists of the agency is then selected to participate under said project. If you talk to Japanese producers, the proper way to refer to your cartoon waifu is tantou, and while you may or may not be a wretched twitter critter, we all know what you mean.)
There are however technical differences. One is the basic understanding that IDOLM@STER is a game franchise in which the player is the producer, and the idols the player selects to literally produce, well, are the idols the player produces. Sometimes this is literally every idol in the game, sometimes this is even more (not all idols are really in the games if you think about it), and sometimes it’s just whatever the P wants.
If we extrapolate it from selecting an idol in games to engagement in general, the idols I produce are just the ones I will go out of my way to learn more, to read up on, to research, to think about, and to create content for. After all, it is all we can do to literally “produce” a fictional character. This is pretty much the same way anyone stans anyone else, but maybe there are some differences. Maybe there will be another post for that.
The idols from IDOLM@STER that I like, however, I don’t necessarily produce. Maybe for those characters, I just enjoy the content and call it a day.
This is most evident when you participate in IDOLM@STER content like a big live event. Your favorite or tantou characters, odds are, will only take up a fraction of the full show. The rest of the time you probably are still engaged in the content, even if it isn’t your favorite or it has little relationship to the idols you produce. Sometimes this does mean you might take a seat. But also, a concert is a concert, a show is a show–it’s enjoyable to watch and be a part of.
So while I don’t produce Syoko, I still have a lot of respect for the Matsuda twins and an affinity to the brand of rock that is X Japan. This is why the Kurenai cover during CG7th Osaka was a really special experience personally, especially given the venue, the setup, and the way things played out. These kinds of considerations were the reasons why I was even there in the first place.
I have been following Cinderella Girls since my initial baptism by MOIW 2014. What struck me as odd now is that while many idols from 346P are appealing to me personally, I don’t want to produce any of them. It’s a big reason why I gave up playing Starlight Stage, and also it made the franchise easier to deal with when I treat it like this bag of content that pops out hit beats once in a while, at arm’s length.
I try to go to a show every year still, because I do enjoy this branch of IM@S and I still know something about them. Plus, I never stopped being a seiyuu otaku and IDOLM@STER content is still some of the best kind of seiyuu content out there. An IM@S show (and this applies even to all the other branches) are often elaborate productions. Cinderella Girls lives are the most elaborate of them all, both because of the success (popularity and commercially) of the franchise and the style of the content that is conducive of big, bright, shiny productions at a large scale. That the franchise shows have been dome-sized the past couple years actually plays to the strength of the content and the material. That is contrary to my normal preferences; to me, domes are a negative otherwise–you are far from the action, it’s very crowded, the acoustics and view often sucks, and the seats suck too usually.
On paper, maybe I can call myself, at best, a Miho/PCS producer, because at least I roll for them. I also find myself leaning towards Tsuda and Tanezaki a lot, at least as far as seiyuu affinities go among 346P cast members. It is a production of conveniences. But I produces way more back home in 765Pro, which hopefully my actions speak for themselves.
When the word dropped for Otakuthon this year with its concert lineup, I decided to go despite the somewhat more fitting lineup out at the usual Anirevo event. Otakuthon, in Montreal, is a cool city to visit because it’s as European as it gets in North America, and frankly it’s not that far from me.
I was able to carpool with 3 other folks and split hotel with 2 others. The good exchange rate between USD and CAD helped. What didn’t was our tough schedule leaving so late, and the strong storms in upstate NYC which made driving challenging in rare spurts, both to and fro.
The tough schedule was a late arrival into Montreal and getting up early to move my car, and to work remotely for the rest of the day. I did sneak out of the room to get an autograph from the lovely Marina Inoue, who played a role of Japanese CV here to see her fans and dispense answers to questions. She took on a pretty strong persona and it felt a bit intimidating, but she was enjoyable overall to see in person.
There were two autograph sessions and a panel and it was fun as you would expect. I missed part of the panel due to another autograph session with Rica Matsumoto, but overall it was pretty educational.
For Matsumoto, I was only able to see her at the autograph session on Saturday. Frankly the con didn’t do a good job keeping her events on time. The lineup and the handling of the guest didn’t sync up in terms of info, and I see how the line control struggle to implement whatever they were doing from the industry group that brought over the guest.
JRock North did what they could for TMR, Matsumoto and Faky, another Avex Trax idol group. Unlike Wa-suta, Faky has a lot of international appeal with 3 multilingual performers. One of the even speaks French fluently and that won her tons of brownie points in Montreal. You can look them up here. The group recently just had a member change so 2 out of 5 were finally getting a song that’s coming out just now? Well.
Here are some Youtube teasers for their new single, which they performed at the con: Akina (From California), Hina (New member from Kyoto), and Taki (New member from Tokyo, speaks Fr/En/JP). I guess the rest will come up shortly…
Somehow Otakuthon also scheduled all their Japanese guests on top of each other. I wasn’t able to do much else besides get 2 autographs and catch part of the panel for Marina. I didn’t see Faky’s panel, nor Matsumoto’s panel, nor TMR’s panel… And also there was Miyavi’s stuff by Fake Star and I didn’t participate at all in any of it.
Oh yeah, TMR was great. His abridged set is collaboration with another Nishikawa brand, TNNK. So it was TMR x TNNK. TNNK is mostly just his later output from Thunderbolt Fantasy and the like, and it was great since I dig those songs a lot. I had a good spot for the live too, thanks to premium badge.
Otakuthon this year had a $200 CAD premium badge. The concerts were 20 or 30 each. I went to two. So I am still spending $95 or so on top. I also got some perks from going to the TMR concert, like a poster watashikai/handshake. Well, I’m more here for the luls and to enjoy the show, so it was not a big deal. The badge helped me get a front-ish seat without having to camp much, so I think value-wise it was a push. If I wanted to I probably could have gone to another concert on Saturday if things were less CF than it was.
What else did I do? I got an autograph from Irie, which I will have to frame somewhere. Takkyu Musume is great stuff. There was fooling around with the locals at night. I mixed some drinks and sang some karaoke, while trying to buy Million 6th SSA tickets.
Overall Otakuthon was fun, laid back, and I approached it kind of small. Part of it was that I also worked for much of Friday so not much was getting done. Montreal is a fun and enjoyable city.
PS. I drove to the city, and dealt with the EV infrastructure. It was educational. Montreal uses its Electrify system and FLO, which is largely interoperable. The parking situation in downtown is kind of bad, but I still only paid less than 50 CAD for the weekend. There are some street-side chargers which are level 2, and the Indigo deck under the con also has level 2 chargers.
I also rode on a Lime scooter, which went live in Montreal just a couple weeks ago. It was fine. I was going somewhere out of Downtown but since I couldn’t park in that area I ended up walking half of the way.
PPS. La Banquise was dinner on Friday, Reuben’s Deli was dinner on Saturday. On the way up we stopped in Queensbury NY at a local diner, and on the way down we stopped at Albany for Five Guys (even if we had only 4 Guys). Aforementioned scooter ride was to get some bagels at St. Viateur to bring home. There was a huge parade on Sunday downtown which obstructed traffic but celebrated LGBT rights, a push in my book, so I had to uber, ride, and walk to get those bagels.
Also, I finally got to have some orange julep. It’s a Montreal specialty that probably most closely resemble SunnyD but more like actual juice. The recipe is really more just orange juice with flavoring extract and egg whites.