Here is a quick and dirty (as they all are) translation on Anime Anime. I mean, click on the link there and read said translation. I will put a spin on the data below.
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Taiyou Con 2020: Wrap
This year my first anime con was literally the very first weekend of the year, down in the sunny Phoenix ‘burb of Mesa. This was the 10th Taiyou Con and very much like usual it was a low-key affair with a few guests that drew a small crowd, albeit some guests of great interest to me. Taiyou Con remained a small con, by most con standards, and that is to say I was able to take advantage of the size and laid-back nature of it all.
Somehow, Miyake Marie (Marietti) and Matsuzaki Rei (Reichama) came as a combo of sorts, from Pro-fit and Mausu, respectively. Each of them had their solo panels, an autograph session, and on Saturday they had a combined panel and combined autograph session. I mean, I guess this is because the con is run by a P, and I mean guess.
The rest of the con guests round out with two Japanese illustrators (courtesy of Sekai Project) Yukie and AmetoYuki; ProZD (who had to cancel half way into Friday due to a family emergency), and some VAs and cosers I don’t know. It all seems quite suitable for a con this size, other than somehow the seiyuu guests. Fact is far most cons of this type don’t get seiyuu guests, if even JP guests.
As far as Taiyou Con’s nuts and bolts go, it hasn’t changed much since I last attended in 2017. I’ll cover the main difference this year and go straight to the guest content and travelogue stuff.
Continue readingBlogger’s Plays on Words Delayed by 3 Months, to Burn Chidori RSC at Its End
I actually think he is more right than wrong, but Evirus wiffed: Rifle Is Beautiful hit a bull’s eye when it comes to portraying the high school attitude about beam rifling, both as an intramural and varsity exercise, and as human beings, trying to point a heavy light stick, at a tiny target, for a forty-five minute stretch.
In fact his attitude of it is a good example, classic even, of how “sports anime” ruins anime about sports. There is nothing to get excited about when it comes to the nationals with beam rifling; it’s goddamn beam rifling, folks! It’s not astoundingly clear, but it seemed fairly obvious that the purpose of the work is not to create a fiction that is actually about the excitement of moving on from regional to national. It’s pretty funny that he compares it to Girls und Panzer, I guess, but this is how western regurgitation out-of-context feels like.
This is probably just a problem about our postmodern society, where some dudes writing about Ueda Reina’s character don’t even get how beam rifling 4koma adaptations can really be actually about the subject matter, but coated in genres that have now wholly taken on new meanings in this century you do have to dig around to find what the story is actually about. On one hand, Chidori RSC is a Tonari no Young Jump property, which makes it into a weird kind of… webcomic, I guess. It feels more at home in Manga Time Kirara. Rifle Is Beautiful is also too true-to-real-life to be truly fiction–think about K-ON and how that resonate with people; despite it being a fuwa-fuwa, utopic fantasy that is too grounded in reality to get excited. That it is a 4koma comic about high school girls doing rather mundane (as mundane as beam rifling is I suppose) also make you think about what exactly is Rifle Is Beautiful is about. It is a depiction of reality through the “Kirara” lens, more so than any true fantasy; if there is a fantasy in Chidori RSC, it is that it is a bit too utopic.
And I think it is pretty clear–it would be uncouth, to say the least, to complain how it is”[f]ailing as a sports anime” as Rifle Is Beautiful’s biggest flaw, when the tension, the excitement and what makes quoting Sensa-do even sensible in his post is missing completely. It’s not in the source material either. I would conclude, then, it isn’t the point of the exercise; much like the vibe of official beam rifling meets. The vibe I get, at least based on watching the show, is more like walking into an exam room; you have 45 minutes to fill out 60 questions. That, is excruciatingly authentic. If anything, I watched this show to the (almost very) end is a great achievement and a pretty awesome demo on the power of anime and manga. Sure, at times it can be excruciatingly boring as well, but blame reality I guess. Actually I would imagine reality is still the more so tedious than this fictive depiction. I wasn’t really bored by it, but I can easily see some reasonable people being bored by it.
On the basis of its qualitative attributes, I have always thought Chidori RSC being a show in which a lot of people won’t like. Much like how in the upcoming 2020 Olympics, the only people excited about the Beam Rifle competitions are people who were always interested in Beam Rifling, and fans of Rifle Is Beautiful. It is a bad take to call something not fantastic enough for being too real about a thing basically nobody has ever been real about. I suppose we can criticise Chidori RSC for possibly failing to make a set of elements come together–story, characters, pacing, excitement, humor, whatever, but I think if the goal was to produce something life-like, cute, unusual & varied, and about the ins-and-outs of beam rifling and its ennui, I think we got it in spades.
2020 Vision: Trends and Wishlists
Originally I was going to write up a recap for 2019 (and finish my recap of 2018), but I just didn’t get around to it in late December due to work and other unexpected things taking up time and attention. This January, I’ll try to work on them.
The plan was also, instead of a list or list of lists, I was going to write in bigger strokes some of the trends and the big picture view of some stuff; thus.
For starters, we are right in the thick of the next wave of original content localization, with more free-to-play mobile games being ported to English than ever. FGO being a top-10 gross revenue game in 2019 is a big deal, one which doesn’t even seem odd as Japan has always been a powerhouse when it comes to video game/electronic entertainment. But for those of us who followed this franchise from the start, it is a surprise that no one could have really seen 20 years ago.
The meaning behind it is that unlike manga and light novels, we are doing an 180–these incredibly (comparatively) effort and cost-intensive properties can have their showdown across the Pacific because they also make a truck load of money. Not even One Piece or (and?) Naruto can make a billion US bucks in a year (and yet they are still gated heavily by their publishers…oh well). Let along random B-grade light novels. Or any print books for that matter.
On the other hand, it’s easy to translate books and manga–that’s why escalation is so rampant. And it’s relatively easy to localize anime and the non-online kind of game content. As an IM@S fan I know all too well the problem when Bandai Namco is your game’s publisher, judge and executioner all in one, and that multinational beast is going to face some challenges in this ever-evolving landscape where there’s a lot of money to be had only if they could agilely maneuver to fight for a piece of the biggest pie in all of electronic entertainment. So Money is only motivation–the rest is incredibly difficult work (in some cases).
How that trickles down to the nuances of why someone loves some anime character is harder to see, and that’s where we introspect with our 20/20 glasses on, looking into what has happened to gleam some insight to produce, hopefully, good foresight.
Eventing culture is both being normalized and regurgitated overseas. The best example I can give is the flower stand thing. Like, why do people do it at cons? Does TGS have flower stands? I guess for the event? It is kind of weird to do it for the guests of the event… But as per the usual case with weeaboo culture, this is basically the morpheus strip where the West take whatever pieces of the culture they want from the East and repurposes it for their own, usually out of context (or only in the context of Reddit, Youtubers, and random blogs). It is what it is on some level, and it’s mostly fine as long as it’s only kids blowing disposable income to stan some Asian celeb, and remain mostly fun and games.
And that’s just flower stands. I think there are other examples, but let’s keep it under control and make sure it doesn’t cost pain or suffering, or even minor irritation, folks.
Thanks to largely Bushiroad pushing their more niche, event-tie-in content into English, we also see more of it via their guests appearances and Chara Expo USA. It is still a different story regarding localizing concerts, but live viewings seems to be taking off.
If we think of anime and games (and as I write this sitting in a hotel at Arizona, attending TaiyouCon, pro baseball) as what connects the West and the East, the long terms growth of anime films (both the snobby kind and the TV anime excuse kind) necessitates the same distribution overseas. The growth of anime movies for struggling theaters out in North America is a bright sign. I just think how the Konosuba film did in 2019, and of course, Promare, covers that spectrum quite nicely. It is also still a shame that Americans won’t get to see Shinkai’s new film until 2020 but the rest of the world have already put Weathering With You to bed now. I think that’s just because it is a stupid business reason but it is still unfortunate.
Speaking of the Konosuba film, some anime con better bring Takahashi Rie to America in 2020. Isn’t it amazing that so many theaters in North America screened that little pre-movie intro interview?
From the con front, I think we are well in ripe territory for competent, for-profit entities to provide actually good anime con experiences to adult fans in the anime side of things. In my view, the biggest barrier so far is actually that profit-seeking motive trying to outthink execution with galaxy-brain approaches. It is much sensible to copy what already works and just focus on how to execute better. And I don’t mean just con runners, but also service providers for cons. I think we still have a long ways to go when many cons aren’t even done picking the lowest hanging fruits. As attendees become more sophisticated and well-off there will be more headroom for growth.
In this decade, I hope, there ought be more scalable way to make sure that basics like line management and registration are not messed up for any con. We were already there for the most part in the 2010s, and even more so as fan con management services provide more layers of services such as RFID badges and badge mailing. We really shouldn’t have ticketing server screw-ups, even for high-demand weeb concerts (and better ways to handle those as well other than just an online rush). There are just not too many events with that many attendees.
This is also on top of existing developments. For example the cruise cons, the resort hotel cons, and that fans are doing their own hanger-on events on top of cons. Wota Peace Party is one such thing, and I wish there are easier ways for enterprising fans to plug into a con and cons to help those fans leverage these experiences so they can run their own “panels” so to speak. There are no reasons to be strangers, you and I. It’s about time for the Room Party to grow up, and maybe that could happen in the next 10 years.
As for con programming, I also think it is high time we actually import Asian best practices. I want more engaging guest panels based on their entertainment skill strengths. If Aniplex is going to fly Yuki Aoi to NYC, it would be a damn crying shame to not have her perv in front of your attendees. That’s what all the fans know her for! I mean why else did you spend all that money? What for? There are other examples like this. I know it can be hard to actually think about the content of the panel from the perspective of putting up a show–most industry style panels are closer to marketing to exec decks than actual fun stuff, but there is no excuse to put on $10000s of HR into an offsite location and just have them read off a spreadsheet. It is a poor use of money, time and effort. I’m glad at least some folks get this, but please put some of that money into use to bring us enjoyable context that properly flex the guests charm points. You want to make fans, you want them to be engaged, so it’s time to go all the way. Don’t fly 1000s of miles to meet us and only stumble on your last step.
Also related to this but coming from the other side of the world, maybe the next 10 years is when Japan-hosted otaku experiences will actually take off. Or I hope. The Love Live concert tours (and the upcoming Numazu tour) is something that Japan has really tried to do with wide ranges of outcomes. More often than not it doesn’t work, but guided tours are an easy way to bridge the gap, given if the fandom is old enough and reach critical mass of eventers. The work I’ve been involved in the past 10 years with showing some Producers the ropes probably helped, but the only horn worth tooting is the greater Bushiroad-Brand fandom that brought in the folks through their work with both the mothership and their fellow fans. Eventers all across the English-speaking world also helped to cobble together enough information to funnel folks far and wide into Japan, paving the way for more to follow. I think it’s rewarding to see the little drops of participation all of you contributed bearing some long-term results. And this just goes back to why some folks are so hung up on flower stands LOL.
Time to update my 2020 Eventing post!