Eventing 2018

[Updated Apr. 16: looks like I’m going to Acen this year…and Otakuthon. Anorth is out though.]

This is a blog post that will keep track of the nerd events I’m attending in 2018. It will be updated over time to add/delete and update the status of the events I plan to attend or have attended. If you’re going to one of these, feel free to let me know ahead of time. You can find last year’s log post here.

In 2018 I think I’m just going to be kind of vague, since YOLO’ing the past 2 years has kind of caught up. There are some stuff I’d like to go and see/participate but a lot of maybes are really in play. Just going to throw them down as guidelines.

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Spring 2018 Anime Selections

Here are some impressions, as per usual. On a personal note, I recently signed up for HiDive, and it doesn’t have Apple TV support, which is what I use to watch probably 75% of anime these days. It also doesn’t have Chromecast support, which is what I use to watch ~15% of anime these days (only usually because I’m at a friend’s house or Apple TV is having issues). The two technology platforms are kind of interchangeable, since I use both at home for various things. The rest of the time I watch either on my phone (because I’m on an airplane) or on my PC (because I happen to be in front of it), in that 10% remainder. It also means HiDive is kind of worthless to me right now.

The problem with HiDive is that it doesn’t support how I watch anime most of the time. If it takes less effort to me to XDCC some files and watch it on Apple TV via Plex, than load up the video I want on HiDive, cast my whole phone, then hit play, this competing product is just a waste of my time that happened to cost money. Would it be OK for me to subscribe and not use it? I guess so. For now, the only real way to watch stuff on HiDive, short of inside a browser, is that I can dial up a video on my phone and stream my phone Airplay/Chromecast-like, but this sucks if all you have is your phone, and not a second device to play with in your living room. It is very much a first world problem, but this entire blog is more or less a first-world-issues only site.

That’s not even mentioning all the bugs in the Android app. And how the web version is making the same mistakes that plagued FUNi’s website back when they were solo on the streaming. Anyways.

On a less ranty, but still ranting, note, I picked up the EN version of BanG Dream game, administered out of Singapore. It’s perfectly fine and provides an updated experience than my first run-ins with the original JP version so long ago. They fixed most of the tuning issue with stamina usage and event point system. The more fleshed out exchange system now has some balance with grinding up character training mats. There are more songs you have access to right out of the gate, if just the newer covers alone.

Playing it also reminds me what I didn’t like about the game, which is having to put up with songs you don’t like or don’t want to listen to during multiplayer. This is why I almost never choose Random for song selection, anyway. Oh, and the usual abusers in the game that coast or outright cheat.

Then again, I get why some people instant-disconnect after the song selection screen. I really don’t have to want to put up with one more listen of Shuwarin. I’ve not fallen that far yet but it’s getting close. It would be really great if the game lets you blacklist a few songs!

OK, enough sidebars. Here are the initial offering (which is bound to shrink as the MLB season wears on).

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Explaining Anisong World Matsuri 2018: Part 2

Part 2 is from the organizer end.

JAM Lab launched sometime earlier this year, as a portal so pros can research and contact Japanese management and artists. Given the way Japan does business, it is hard to cold call them. Anime’s cultural cache is recognizant and I think it’s always good to be available if an opportunity rises. JAM Lab fills that need somewhat. It also tries to fill the informational gap, by posting interviews, translated reports and ranking news, what have you.

JAM Lab provided a couple interviews, namely the head SOZO guy who is responsible for the AFA brand, and Inoue who is the head of Lantis and is heading up the Anisong World Matsuri shows. Inoue’s interviews are still being posted this week, as of this writing, but it already has shed some light on the AWM shows and how they’re approaching it. What’s kind of missing is the eventual Lantis 20th anniversary tour, assuming that’s what will happen again. [At AnimeJapan this year, there was a public talk stage between the organizers of Anisama, Animax Musix, and Lisani. It’s also worth checking out if you are interested in that stuff, if you can find it on youtube or nico…]

Please do read Inoue’s interview besides what I’ve quoted, because it’s interesting unless you already know the general story about him. I’m just going to quote what stands out in relevance to the topic of AWM and what to expect…

So I’m going to move on to talking about your company Lantis. Now that I know how Lantis all started, can you tell me the type of business Lantis is doing once again?
-So Lantis was established in 1999, and this is our 19th year. In prior to move onto our 20th year, as you know Lantis is a record company that makes anime and game music. Of course we do concerts as well. We are going to join forces with Bandai Visual, which works on motion pictures as well as some of Takeshi Kitano’s movies. Our company is going to be called Bandai Namco Arts starting April of this year. So for people reading this article, the company’s name will change within a few days. The name Lantis will stay as a label and logo.

Quoted only because now it’s BNA. It’s still not quite the same as the BN Live Creative sub brand? Not sure TBH, Bandai Namco reorgs makes no sense to me (rip BE USA).

[]With next year marking the 20th year, are there any projects or events that left a big impression on you for the last 2 decades?
-We do a lot of concerts and events with our partner group Bandai Namco Live Creative. We do about 800 shows a year.

800!?
-Yes(laughs). Not every day but there are concerts taking places in different prefectures as well. We’ve been able to do a lot of these events and on our 10th year, we did an event called Lantis Matsuri at Fujikyu Highland Conifer Forest. After that, on our 15th anniversary, we did Lantis Matsuri at 4 different prefectures, Aichi, Sendai, Osaka and Tokyo. After that, we were able to do Lantis Festival overseas in Las Vegas, Hong Kong, Taiwan, Shanghai, Singapore, and Korea. Being able to do that with artists that grew up with you as well as well as staffs and making an event from scratch is probably the most memorable thing we ever did. Next year, 2019 will mark our 20th year so we are thinking of doing an event celebrating our anniversary.

Different countries too?
-Speaking of different countries, we were able to do Anisong World Matsuri after Lantis Festival. It was a concert consisting of artists not just from Lantis but with Japanese artists and musicians from other labels and companies as well.

Seems like the event is going to keep getting bigger.
What’s the advantage and what’s interesting about doing business with specializing in anime songs?
-Well, it’s going to change a little starting next month but, there were no labels that only specialized in anime and game songs. I think the biggest advantage is being able to team up with companies such as Pony Canyon, Kadokawa and other companies and makers to make music as well as motion pictures. The company is going to change but we are still going to be making music and motion pictures with other companies. So that part will not change.

Basically, this is the thinking for Lantis 20th. AWMs are both learning experience and test grounds for future endeavors. The truth is as Inoue tells it–there are fans here. Question is more like, will it be worth their while to overcome? As we all know, it costs a lot of money to throw the AX AWMs. However since there is a business interest, they can adopt and scale, so it’s possible for the Japan side to hold the risk and streamline future live events oversea. Quoting from the 2nd interview–

I heard about Lantis expanding overseas so I would like to talk about the past, present and future goals. Lantis is getting bigger by year, what triggered you to start thinking about expanding overseas?
-We have a project called JAM Project. It stands for Japanese Animation Song Makers. A project to make Japanese Anime Songs. We started this project around 2000 and in 2008, on their 8th year they were able to hold a concert at the Budokan which was their goal. After that, we had a discussion about what their next goal is going to be. That’s when we decided that we should expand overseas and bring anime songs to the rest of the world.

It seem like a business that isn’t really market-researched, but at the same time, they are building the market.

You’re probably aware that there are many anisong fans oversea, do you feel that there is a difference in what’s popular depending on the country?
-Not so much anymore. They seem to like similar things but in South America, such as Brazil, Tokusatsu songs seems to be popular. Songs for Kamen Rider was actually broadcasted with the episode. So the attendees would be people who used to watch Tokusatsu when they were younger. In Europe, I noticed Dynamic Production work and anime like Gurren Lagann and Mecha were popular.

This is actually a bit of news to me, but I guess what I really want to know is, how is South America doing taste-wise? I already know about toku down there, which is why JAM Project loves Brazil and the like, but it doesn’t say anything about other genres. By the way, they’re totally going to South America for Lantis 20th, if you read between the lines.

I’ve noticed that Lantis has been attending oversea events for a long time now and now Lantis is holding their own events oversea. Can you tell me a little bit of how it is working with Amuse and holding your own event?
-We do Lantis Festival which is a festival only for Lantis. But I also thought that depending on the place, there is more demand on something that Lantis alone cannot provide. There may be demand for Avex pictures, Sony Music Entertainment, Horipro, and Amuse which helps us book artists internationally because they have branches out in different countries. We are now shifting to work with oversea companies and hold the risk in doing oversea events.

Amuse is important because they are the people cons deal with in order to get these things set up, at least for AFA and AWM. I don’t really know how they could do this for other countries or countries that don’t have big presences. In a more practical sense, Amuse is only really needed because of AWM and other large events that’s being set up. What makes American events good are proximity and access, neither really a big aspect for AWM-type shows. Well, except by proximity meaning you don’t have to fly to Japan, I guess. So that is kind of a different narrative for eventers looking for that sort of a thing.

If you look at Otakon’s guest list over the years and its progression closely, you would know that is closer to the ideal back end setup–strong GR and a history of solid venue for JP acts to access a sizable US crowd. The promo is there albeit limited in a non-profit sort of way. There is merch support, and fans can even see shows without paying an extra ticket on top of the con admission. It’s a good arrangement until we realize this severely limits the access of acts. Ultimately you are on a tight budget, you can only fly folks over who are not asking for a serious appearance fee, and frankly there’s no way to leverage scale because you are capped from soliciting more money. It might take 150 people to do AWM at AX, but that’s 2 or 3 shows and each with many acts. If we go with a country club way of thinking, it’s time for Otakon to change gears and buy that golf course, and at least Japan is doing it for them.

Let me wrap up this business talk with one semi-hypothetical anecdote. Last year we had an anikura thing at AX. It was not an AX program, as I am entirely unaffiliated. It’s billed as an after party to AWM day 0, but we had a showing of about 180 people. It was enough to cover all the costs (including some food even). We advertised purely by word of mouth. I want to do this again this year by the way…

Anyways, the point is, a lot of the flat costs or sunk costs are the venue, the human resource costs of processing payment, getting people registered, signing people in, etc. It didn’t matter if the event had 100 or 200 people, or if the DJ were my friends or JP guests as, those don’t affect the core costs of the event. If my budget is, say, $5000 or $25 for each person with a 200 cap, because I can’t budge what I charge people, I would be capped there. Let’s say I was able to get all the back end costs to $2500, that leaves $2500 to fly a DJ and his manager over, and put them into a hotel room (and a volunteer handler to drive them around). That’s very bare bones.

Using the same numbers, if I was able to change what I charge people (for example, if I use crowdfunding and set stretch goals for autographs and what not) I can probably get 2 guests if I just raise the average payment per attendee to $38, just $13 more. I can even leverage the same volunteer handler LOL. To translate, for example, if Otakon sold concert tickets, they can then increase the guest list because they’ve paid a lot of the sunk costs regardless, and it’s fairly efficient to pass some of the added cost to attendees, assuming they are really scaling it here and providing what the audience wants.

I think for cons, AWM just makes this proposition a lot easier to deal with, if not the concept possible to start.

 


Explaining Anisong World Matsuri 2018: Part 1

What does Anisong World Matsuri do? Can I eat it?

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WUGLOVE Bus Tour Part 3: TUNAGO Tour Finale–Wake Up, Girls! 5th Anniversary Live

The long blog post title is important.

I was on the flight back from a weekender attending the 3rd WUG bus tour, or the finale of the TUNAGO tour–which is a Wake Up Girls fanclub event that focuses on the seven girls as solo performers. In years past they have always done the WUG solo events as a two-day act, where each of the seven WUGchans would do their solo shows for about 1 to 2 hours, back to back across 2 days. This year they made it fanclub only, and linked the events in weekends during March. Each of the events would run twice a day, a solo act for one WUGchan, and the venue would be at a small live house somewhere in Tohoku.

This is hard for dedicated WUGners because that means they have to traverse Northern Japan for the month of March. It’s kind of expensive especially for fans outside of Tohoku, which is most of us. Local Japanese fans complained, overseas WUGners grinned and beared with it. Having the events being FC-only meant the tickets were more or less available (unless you’re looking for Myu’s show, somehow hers were the most popular (probably because hers was in Sendai and it was the easiest one to get to. Also her new solo song was the best)), despite the smallish venues. To cap it all off is the Bus Tour, which costs 50000 or so yen, plus the optional Nijikai event (another ~6000). It’s an expensive proposition no matter who you are, I guess.

To cut to the chase, now that everything is done and over with, I have a bit of mixed feelings about this year’s WUG bus tour. For starters, it’s very different than the prior tours in terms of activity. This time, the tour was nearly 500 strong, whereas prior tours had maybe half as many. The smaller counts allowed more personal-ish sessions at the earlier bus tours, such as watashikai and autograph events, and seeing the WUGchans more frequently. This time, we only saw them via the special niconama (which was streamed to the hotel rooms) as guest audience, at a greetings event at the hotel, and at the nijikai as surprise guests. And of course, the 5th anniversary live, which was the big event of the WUG bus tour part 3.

The somewhat-mixed, mostly-happy feeling I got from all this is kind of just a personal observation, but one universal part is how those of us in the WUG Love FC know how the prior bus tours went. This one being so different is going to lead to some disappointments. The tour in general is pretty lacking in terms of what’s really good for normal tourism, although the onsen ryokan we stayed at (Akiu Grand) served both as a WUG anime pilgrimage spot (same hotel in the anime) as well as a solid onsen ryokan. The food was a little on the weak side, though.

Well, enough waxing poetry on meta, here’s a blow-by-blow recall.

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Citizen Action Is Fine But LOL

I read this and well, I agree with it more than I disagree with it, for starters. In summary, it is a blog post illustrating the baseline understanding on what the table stakes are to improve working condition of Japanese animators. In specific, it says that it is reprehensible to shame people from piracy by leveraging them the information about poorly-treated animators. Lawful consumption of content produced by the anime industry also will not really address the problem, because it’s not a directing force. That much is common sense. Table stakes. If you’re not at this level I don’t think we can have a constructive discussion.

It is a helpful post by listing some key items and things westerners know about, such as the anime dorm thing and Janica, as well as Sakugablog. However I think it kind of trips on itself by trying to criticize anime press and the lack of information available to fans. Here are some of my thoughts.

  1. In the post it says that information and misinformation is a major issue. I agree–both as someone who has been misinformed and have seen plenty others being misinformed, for starters. I’m not entirely sure if that blog post is fully informed, namely, it overreaches. I think you can’t take such a cut-and-dry approach to labor relations, especially applying some international models to Japan. It doesn’t often work–even for large capital firms trying to break into that market. The relationship between press and advertiser, too, is a complicated thing that I don’t have time to get into now, and this outside view is obtuse.
  2. The problem of poor information is understated. For starters, plain PR-style information is not even well represented in English. There is definitely a selection bias due to the industrial relationships between localizers, press, and Japanese content producers. At the same time, it is not really a goal of these organizations to educate consumers. Fandom, possibly the most well-equipped source of information, is often also not primed as a means of education, either because there is a lack of organization, or because the scope of information does not address greater, fundamental education that is lacking. Misusing decontextualized data and concepts remains a pervasive issue.
  3. This partly plays out at the Sakugablog. The relationship between Sakugablog, its exposure of individual animators to the western public, and that post, is also an example of poor information and disinformation. As Kevin and others may tell you outright, sometimes the truth cannot be simply disclosed, and Sakugablog is not really meant to serve that whistleblowing purpose. Sakugabooru and Sakugablog ultimately serves its fan niche first and foremost, and it is not a public outreach platform, despite it wanting to be that as well. I think the need for something like a news-like site to explain how everything is, is part of what the sakuga community needs, so Sakugablog tried to serve that purpose. However, if you would read this tortured whistleblowing, you would know it’s not really in a position to do so. First and foremost, if you are friends with the cottage industry that is Japanese sakuga-making, you can’t really be a bull in the proverbial china shop. The accusational post is not even 1:1 accusation and explanation, it’s like 5 parts couching the issue, 1 parts defending the accused, and 1 part actually accusing. The public is not really ready for something like this, because we are generally just grossly misinformed about this niche industry. Even with that long post there is a lot of room for misunderstanding, and misunderstanding by casual/semi-casual fans, not just randos. Pursue the comments in that Marchen Madchen post (RIP). And by the public or randos I don’t just mean western fans, but in general, including the Japanese, non-sakuga-otaku public. Animator working condition discussions at times is a sensitive issue, and I’m not sure it’s possible to talk about these things in that context without either diluting your message or cause more problems. More importantly, this is a huge, systemic issue, that is related with a bunch of other issues, and there are few ways to tackle this without a full on knowledge of what builds the system up, which require a truckload of knowledge beyond appreciation of animators.
  4. There are other unions that blog post missed. Obviously the one in my wheelhouse is the Japanese actors union which covers voice acting, which dictates rates, guarantees and royalties, among other things.  Musicians also have unions, depends if they are composers or what, but in this regard many anime-related musicians are attached to a major label or freelance, so those arrangements will take precedence. Seiyuu union is a good example to show that unionization in Japan only works so much to help working condition. Short of spending the next 1000 words describing it I’ll just say one should read up on Shirobako’s most pitiful out of the five. Only if things were that simple.
  5. The blog post points to neoliberal traps of market correction, but fails to acknowledge that the likes of PA Works, Kyoto Animation, and other animation companies are the first and foremost actors in improving the working condition of their employees and contractors. This is at odds with Sakugablog’s fairly cheerleader-like posture at these positive industry-side changes. As things are in reality, it takes both sides, labor and employer, reaching some compromise for the situation to improve. It would be foolish to write away the employer side as handwaving “neoliberalism.” That posure in fact shows a poor understanding of the role of these companies in the ecosystem. To me, the fact that animation companies are actively trying to improve the situation implies a truck load of other things that ought to be discussed in the breadth of that post (should it decide to go there), and truly that’s kind of the change citizen actions should push for anyway. But it’s weird that none of that is being said in that blog post. Which is again, a bull in china shop kind of thing, cottage industry and all. Anyways, that omission seems critical, especially in light of some of the other word-drops (like Young Animators Project).

I do heartily agree that people need a firm grasp on fundamentals, like citizen action on system change, how it works, and other things illustrated by that blog post, to have a sensible discussion on how to elevate the working condition of Japanese animators. However it also takes a lot of data and keen understanding on Japanese work culture, business practices, societal attitudes, demographics, anime industry structures, patterns and much more, to be pushing these kinds of recommendations, not simply blanketly apply things that may have worked somewhere else without acknowledging the need to address localized concerns. If we want to make arguments not on rational points and facts, and instead appeal to emotion, I think that blog post makes a good point. But does that even matter? I think let’s stay away from the usual SJW-ing too hard and focus our effort on tangible ways to help animators, even if it’s a band-aid.

But like I said, I agree with that post more than I disagree with it. It’s worth the time to read.

PS. Anyone going to WUG Bus Tour? See you there.