Anime NYC weekend for me was filled with music events big and small.
Club Ironmouse
I admire Ironmouse and the community she’s managed to foster, but I had yet to ever see one of her concerts in person. When tickets for her Anime NYC edition of Club Ironmouse went up for order, I decided to buy some tickets without any additional info available. I was confident that in addition to herself, she would feature some spectacular guests, and my prediction was rewarded. In particular, I’m a big fan of Michi Mochievee, and I’m glad I got to see the two perform together. The other main artists were Ünnamed (who is nonbinary and performed as both their male and female selves), a musician called CG5 (who used a chibi version of himself to participate in this VTuber experience), and Banzoin Hakka from Holostars. I’m surprised there were no jokes about Michi and Hakka being each other’s doppelgangers.
One problem with the event, through no fault of Ironmouse or her team, was that the Javits is just not a good space for concerts due to poor acoustics and a concrete floor that’s extremely unforgiving to feet. Another problem was one of my own making: Due to a conflict, I missed the pre-show and a bit of the main portion. I ended up having to deal with an unusually torrential Manhattan evening, and my feet were definitely not dry for any of it. Overall, I liked that things felt both casual and exciting, which is a different vibe than from a lot of the things I’ve experienced.
Club Ironmouse also did something amazing: They sent a discount code to give all live attendees the ability to watch the stream for free. This gave me a chance to catch those other parts and to revisit Michi and Mousey’s performances, as well as the others. I really wish other concerts follow suit, as it does feel like you get punished a bit for going to events like this in person.
Big Apple Idol Fest
This was originally not on my radar, but my Sunday was fairly open. This event area held around 1,800 people and featured many more acts. They ranged from cosplayers doing dances and pantomimes, to more traditional idols who did both covers and original songs, to VTubers who will also perform live. I generally enjoyed the song-and-dance performances more than the dances, but I did appreciate that the latter included choreography from Oshi no Ko and Aikatsu! I also thought it was nice that a lot of the performers were from New York and surrounding areas.
In my previous review of the Otakon Idolspace, I had mentioned that the kaigai (overseas) idol scene seems to want to extract the positive aspects of idol culture without also bringing in the more abusive and problematic parts. Big Apple Idol Fest clearly showed an embrace of different body types instead of having restrictive standards for height and weight and other aspects. It’s like the idols want it to be just as much for themselves as it is for their fans.
Yumemi and Phoebe Chan were two performers I had seen at multiple events this year like OshiUplink, Otakon 2026, and Skyline Serenade. Both had mentioned doing this for about 10 years, and I felt in their performances a level of refinement that reflected their levels of experience. I also lucked into being the perfect spot to buy a cheki from Phoebe and meet her in person. We talked about Macross!
I also later learned that multiple VTubers (some of whom I follow) were in the audience, enjoying a culture that interacts with and overlaps with theirs so thoroughly. It’s kind of funny to just think about the fact that they were secretly present, enjoying the advantage of relative anonymity.
Eclipsed Fates
I think it’s safe to say that there are more VTubers now than anyone can reasonably ever watch, which means that sometimes you find people you like and enjoy, but then they fall to the wayside. This happened to me with the girls of Variance Project, particularly Leia Memoria. When I saw that they were having their first ever concert for their first anniversary, and that it was during Anime NYC weekend, I decided to go.
Unlike the other events mentioned above (but like Skyline Serenade and Seigetsu Stars), Eclipsed Fates was not officially associated with Anime NYC. Rather than being held at the Javits, it was at a small bar in Park Slope, Brooklyn called Atolye NYC. Most of it was standing room, but there was some seating which I took advantage of. I was behind the camera the whole time, so you will not see me in the VOD.
Two things I noticed about Variance Project have been 1) True to its name, the girls are very different from one another, like you’re going from chocolate cake to straight vodka, and 2) they seem to enjoy reveling in their lore more than other groups. Eclipsed Fates was less of a straight concert and more of a concert-musical with a narrative underpinning everything. The sound could be hard to hear at times so I didn’t catch every detail, but the story was basically that the three girls of Equilibrium—Leia, Avaritia Hawthorne, and Katya Sable—were brought to a barren world where they were made to face off by an evil deity, with the winner getting to make a wish. Each of them was also accompanied by an ally (i.e. guests for the concert): Phoebe Chan (again!) in VTuber form, Vampirate Odessa, and Pengy. Eventually, they managed to work together to reject and defeat the god through the power of song, and they realized they make a pretty good team (though some were more reluctant to admit it than others). Overall, it was a neat idea that I wish I could have heard better at the venue.
After the credits, there was a teaser trailer for their next generation. In the days since, Embyr Sparks and Cecilia Lent have debuted, and they indeed lean into their lore pretty hard. I particularly enjoy Embyr’s easy-going and familiar-feeling attitude (and does a good cover of “Skyfall”), but I also appreciate Cecilia’s character acting (and the fact that she’s selling sticks of wood for debut merch).
Last year was the first time in about two decades that I did not attend Otakon. While I don’t regret my decision, I still missed being there, so I was extra stoked to return to DC for 2026. While I’m not from the area, I considered this convention to be an annual homecoming of sorts. There’s still nothing like Otakon, even (or perhaps especially) in an age where anime cons keep popping up and attendance is exploding.
The Basics
Otakon 2026 was held at the Walter E. Washington Convention Center in Washington, DC from July 31 to August 2. In a rare and pleasant change, the weather was surprisingly good, with temperatures hovering below 90 degrees F and only a Sunday storm at the end being an issue. According to official numbers, this was the most attended Otakon of all time, at 47,049.
And while the US and the world has moved on, I still think it’s important to bring up the masking policy, or lack thereof. I know it’s sadly impossible to convince the majority of people to stay masked at this point, I wish they took COVID-19 more seriously. At the very least, the spaces (including the Artist Alley and Dealer’s Hall) were well ventilated, and they don’t forbid masks either. (It can just be a good way to avoid getting sick in general.)
The theme this year was “Swords and Sorcery,” and attendance badges used official art from Final Fantasy XIV with designated classes such as Summoner, Wizard, etc. People could also volunteer to play a scavenger hunt-esque RPG that involved finding images of runes hidden all over the convention center and then “fighting” enemies at a guild. I participated a bit with friends but didn’t get a chance to do any battling myself. As far as I could tell, it was a fun idea implemented somewhat awkwardly, but I understand that it’s hard to make a game like this that accounts for all the different priorities attendees might have.
The New(-ish) Autograph Policy
Since last year, Otakon has done away with the in-person, first come first served international guest autographs lines of the past. Instead, they switched to a system that required people to sign up for autographs via the Guidebook app that was still first come first served but meant that the struggle happened entirely online.
The rollout for 2026 was marred by a few problems. First, when autograph sign-ups initially launched a couple weeks before the con, the Android version of the app could not select any of them, and those on iPhone could only select one autograph total. When they redid it later (and over multiple days to spread the load), the app would not automatically update at the start time, and you had to swap in and out between them. If you didn’t know, this meant losing precious seconds that might be the difference between getting an autograph and not. Also, you couldn’t sign up for two autograph sessions that overlapped even the slightest, so if you had two guests with conflicting schedules, you couldn’t get both, even if neither had a particularly long line.
Despite personally getting many autographs over the years through the previous approach, and despite potentially losing out on sign-ups due to the above issues with Guidebook, I welcomed the new policy. The song and dance required to get access was always ridiculous, with people hovering as close to the autograph area as possible without technically being “too close.” The fervor with which people rushed the line was also unpleasant and dangerous, and I’ve personally seen someone have a panic attack when they got caught within the aggressive push. Then there was the amount of time you had to dedicate to get into position to even have a chance (an hour at least), and it meant losing out on other things you might have wanted to do or see. And because it needed to account for throngs of people, the Autograph Area was in the Dealer’s Room, adding to what is already one of the most crowded sections of Otakon.
With the change, autographs instead were held on the 3rd floor, near Main Events, turning all-but-inevitable chaos into a fairly subdued experience.
VTubers Officially at Otakon
While VTuber fanart has been a part of the Artist Alley in recent years, and even a few companies have appeared as vendors (e.g. Phase Connect), this was the first year that VTubers were officially guests at Otakon. The lineup was slim but varied, ranging from prominent stars like Ironmouse to talents with smaller fanbases. Should they start to have a bigger presence (and more heavy hitters) in the years to follow, I wonder how it might affect attendance numbers, given that despite a good degree of overlap, not all anime/manga fans are VTuber fans and vice versa.
Unlike at OshiUplink, the official meet and greets were free, and were treated more or less like autographs—including being held in the same area and requiring sign-ups via Guidebook. I got the chance to talk to Izumi Teeny and Bonnie Barkswell this way. I wish I could have seen Ironmouse’s panel, but Guidebook can be a clumsy app, and I wasn’t even aware she had one. However, I did go to Hylo’s Anime and VTuber Jeopardy panel, and was fascinated to see what came easily to the other players and what stumped them. The fact that people struggled over the question of what anime “Hare Hare Yukai” came from is a very quick way to make me feel the passage of time.
There was also a VTuber concert by Teeny, Bonnie, Rachie, and Yumemi. I couldn’t catch the very beginning, but still managed to watch most of the girls. Given that most of them appear via screen, Otakon made the decision to hold the concert in a video room instead of an event space. Despite that, Yumemi actually appeared in person as well and performed with her animated counterpart, even running up and down the small aisle.
Idolspace
Speaking of concerts (and VTubers), I went to see Phoebe Chan perform. I almost didn’t make it because I mistakenly thought the Idolspace area (where Phoebe was) and the Featured Events area (which had some idol and cosplay performances) were the same thing. That was on me for not being aware of that distinction, but I think my confusion was understandable.
The preshow featured a fun overseas idol duo called the ChiRi Girls. Their hard work was evident, and I’m curious to see where they’ll be in a couple more years. Phoebe meanwhile, is someone I had heard about for years but started paying more attention to after she became a part of the VTuber trio Densetsu.exe. She’s been going for about 10 years at this point, and I could feel a strong sense of professionalism and polish that clearly came from that decade of experience. Even when there were some technical issues, Phoebe managed to take it all in stride and still give a powerful performance. She did an excellent “Hot Limit” cover too.
As someone who enjoys VTubers and some idol anime but isn’t big into idols in general, it was interesting to get a taste of a world that felt very familiar in many ways, yet unfamiliar in just as many other respects. In particular, it’s the embrace of certain aspects of Japanese idol culture combined with a more “outsider” approach that I find fascinating. It’s like they’re trying to decouple idols from the power structure and hierarchy found in Japan and keep only the fun aspects, and I can respect that, even if it’s not perfect. Another thing I noticed about the Idolspace that I enjoyed is that there was no seeming need by the audience to stand—they provided a space for those who had that desire, though. Sometimes, I just want to sit and enjoy things.
Interviews
I got to speak to two guests this year and conduct interviews:
The first was with Minami Masahiko, co-founder of Studio Bones.
The second was with Oka Kunio, a man famous for designing food replicas like the ones you see at restaurants all over Japan. Stay tuned for this one!
Panels and Screenings
I make it a point every year to go to panels at Otakon, professional- and especially fan-run. Even when the quality varies, I can sense the passion for the subject, and it encapsulates a lot of what I enjoy about conventions in general. Sadly, I did not attend any 18+ panels this year because I was perpetually too tired in the evening. Also surprisingly, I don’t think there was a single Record of Lodoss War panel. Perhaps that’s just a sign of the times.
Detective Conan the Movie: The Million Dollar Pentagram
There has been a renewed push for Detective Conan over the past few years (including specifically using the name Detective Conan instead of Case Closed), and part of that effort this year has been screenings of the recent movie The Million Dollar Pentagram. Otakon was one stop on this tour, and since the YouTube showings that have been happening on occasion generally include the newest films, I decided to watch here.
Conan movies are a fascinating tradition, in that they have been a thing for literal decades now, and they try to be a reliable annual staple in Japan that feels both familiar and new. The Million Dollar Pentagram features phantom thief Kaito Kid and fellow young detective Hattori Heiji, as well as a string of murders that seem to be more than just about revenge or malice. In terms of the mystery, the ridiculous spectacle of action and violence, and some surprising plot revelations that extend beyond the movie itself, I think it was one of the stronger Conan entries I’ve seen.
Magic Knight Rayearth
There was a lot of promotion and hype around Magic Knight Rayearth‘s upcoming remake, including a stamp rally. The series holds a lot of sentimental value for me, including having a wonderful memory of listening to “Yuzurenai Negai” by the original singer back at Otakon 2010, so I knew that I had to attend the screening of the first two episodes. In a time when the word isekai is sometimes viewed with derision, it’s like a breath of fresh air to have this old and reliably superb work spring back to life.
I haven’t read or watched Rayearth properly in a long time (the most was using the characters in Super Robot Wars), and Hikaru came across here as more serious and earnest than I remembered. I wondered, was my memory faulty or were there significant differences between her anime and manga depictions? Also, seeing Fuu bring up RPGs as if they were this relatively unknown thing felt delightfully quaint in 2026. And of course, we haven’t seen this many chibi transformations in decades.
Notably, they did not include the opening theme.
Vermillion Mask
I thought this was going to be a screening of the first episode, but it turns out “preview” can just mean showing a few drawings and video clips. The premise of the series reminded me a lot of The Mask starring Jim Carrey, so I asked the staff during the Q&A whether it was influenced by the film. It turns out that the author of the original manga was inspired in part by The Mask, so the animators use it for reference. (In hindsight, I should have asked whether the comic and/or the movie influenced Vermillion Mask.)
I don’t know if I’ll watch the show, but I’d like to know if any character ever says, “Somebody stop me!”
Discotek
I’m not generally into industry panels that are just about announcing new titles, but I make an exception for Discotek (and to an extent their cousin AnimEigo/MediaOCD). Being in a room full of fans who love nostalgic and obscure anime makes me feel like I’m among my people. There were a lot of welcome license rescues this time around, with the heaviest hitters in my opinion being Toradora! and Mawaru Penguindrum, the latter of which was known for having a lot of technical issues with its original blu-ray release.
A History of Anime in Mexico
In life, an easy pitfall is to assume that the way things happened in your corner of the world was also the case everywhere else. Fandom is no exception, which is why a panel about the history of anime in Mexico was exactly the sort of thing I wanted to see. The panelists—a husband with a business career that had him working in Mexico with Japanese companies and a wife who majored in history—did a great job of looking at things from both cultural and economic perspectives. They also took time to dispel some myths (crime rates did not go down during episodes of Dragon Ball Super), and to teach the audience aspects of the fandom that might not be obvious to those outside of Mexico. For example, a lot of famous Mexican voice actors with decades of experience have also worked on anime dubs, and their popularity has helped them to establish a convincing anti-AI base. Hearing about the clash between Japanese bureaucracy and the more laid-back approach to business in Mexico was also fascinating.
The Ramen that Keeps Anime Going
While I unfortunately missed all the full-on industry panels from Production I.G., I did manage to attend one by director Ueda Yoko. Rather than talk about the nitty gritty of making anime though, it was about the power of ramen. It was both informative and tongue-in-cheek, with the primary emphasis being that it’s fast and hot food that can help boost morale and lift spirits before, during, and after production.
Despite this panel being the product of an official guest it really felt like a lighthearted bit of fun from Ueda about a topic of great interest to her, as opposed to a cheeky attempt at marketing. That’s the culture of Otakon I truly appreciate.
Mecha Kaikan
One thing I missed out on by not attending last year was the debut of a dedicated space for panels and workshops about giant robot media, known as the Mecha Kaikan.
I appreciate its existence on a conceptual level, and I do like how you’re encouraged to build model kits. At the same time, I always feel conflicted when it comes to attending mecha–related things precisely because it’s a genre near and dear to my heart. I don’t want to be one of those people who judges robot panels and tries to prove my kung fu is stronger (as one Daryl Surat likes to put it), but this is also a place where it’s easy to bullshit your way through if the audience doesn’t know better.
What I will say is that I don’t think knowing absolutely everything about a topic should be a prerequisite for doing panels, nor do I think they need to be for hardcore experts only. At the same time, I’m not a fan of papering over gaps in knowledge with wackiness and implying that everyone is on the same page as you.
It’s easy to be critical when you’re not doing the panels yourself, though, so I still have respect for those who genuinely try to make good presentations.
Food
I spend some time in DC before the start of the convention every year, and 2026 was no exception. Somehow, I ended up eating a lot of fried and roasted chicken within a short amount of time! This included Peruvian-style rotisserie chicken and Chicken+Whiskey, fried chicken on a savory donut at Astro Doughnuts & Fried Chicken, and “snow-topped” fried chicken (accompanied by a bowl of rice with chicken drippings and butter) at an old favorite in Bantam King. All were good and worthwhile.
During the con, I mostly ate meals in my own hotel room, but did get some stuff at the convention center. Ben’s Chili Bowl and the caribbean food spot are still obviously overpriced yet reliable. On Sunday after the con wrapped up, my friends and I went to 2fifty, a Texas-style barbecue joint. While they were already out of many of their signature items, what remained was still quite good.
Final Thoughts
While some of it may be residual nostalgia, this year’s Otakon reminded me why it’s still my favorite. As the biggest conventions get bigger, it becomes an increasingly welcome presence. Otakon is not obsessed with either nickel-and-diming you outright (even “paid ticket” events offer some free seating) or encouraging you to spend as much as possible (though you still can if you really want to). Attending makes me feel both energized and relaxed, and I think that can’t be underestimated.
Minami Masahiko is one of the founders of Studio BONES and was at Otakon to promote an upcoming 2027 Okinawa Animation Festival, scheduled for January 29–31. This interview was conducted on July 31, 2026.
Thank you for this interview. You are one of the founders of BONES, but you had a long career before that as well.
You—or rather, a version of you—appears in the dramaAoi Honoo. Have you seen it before, and what did you think of your depiction?
This is a live-action drama series based on a manga, and the author is Shimamoto Kazuhiko-sensei, a classmate of mine in my college years. I heard from him that I should treat it as fiction based on our time in college, and I think it should be viewed as fiction. Some parts are exaggerated.
The originalEureka Sevenis one of my favorite anime, and I’ve had the opportunity to interview both Director Kyoda and Kawamori Shoji. But I wanted to hear your perspective as to what it was like to bring this project together.
I originally worked for Sunrise, which created a lot of original robot animation, and later on I worked as a producer on Mobile Fighter G Gundam. Building original robot animation myself is something I find very fulfilling, and when it comes to making a year-long series, I find it’s extremely important to collaborate with lots of different people.
Speaking of Sunrise, you worked as a producer on various titles, and I wanted to know what it was like for you working with Director Tomino, Director Imagawa, and Director Takahashi Ryousuke
First, when it comes to Director Tomino and Zeta Gundam, I only worked in production management for one episode. For G Gundam, I worked as producer, and for Layzner, I actually worked on production management but was also rotating that role with different teams.
To give a little bit more context, back during this period, the vital thing about original robot animation was the “plastic model/toy/merchandising” model So it was important to understand two pillars/aspects, as a toy product but also as an original work. What’s really memorable is that all three of these directors took this challenge very seriously.
It seems you worked the most with Director Imagawa. Would you be able to explain in detail how he dealt with this balance?
Back with G Gundam, this was the era of laser disc and DVD—Blu-ray hadn’t come out yet. But while we had to think about the business of packaging the show for those formats, shows were produced fundamentally with the television broadcast in mind. G Gundam‘s big sponsor was Bandai, and when it came to a work with the “Gundam” name, it was a matter of when the next Gundam would come out. G Gundam is a Gundam with a lot of Gundams from all over the world, and the timing with which they appeared was tied up with when the merchandise would be available. Within that, Director Imagawa is a man with a lot of great ideas, and he was focused on how to insert originality and drama into the story’s setting.
I have one more question: From a producer standpoint, what is the advantage of doing an original work over an adaptation?
First off, when it comes to works based on something, originality is derived from the creators So when we work on animated adaptations of existing work we have to think about how we can maximize the appeal of the work in animation through artistic and creative expressions. That’s our top priority.
On the other hand, when it’s our wholly original work, the sense of originality lies with us as the creators. We think about how to incorporate the appeal of animation as we proceed with the project planning—how we can incorporate the themes and also how we as the project creators can more effectively convey the work through animation.
Ever since 2020 and the rapid rise of VTubers in the US, they have become an increasing presence in North American nerd conventions. And out of this interest has emerged cons fully dedicated to VTubers, notably Offkai Expo in California. Just like with anime and manga, the west coast is well positioned to get guests and attendees from different parts of the world (especially Japan), but it can be a real travel commitment for lots of people, including myself.
As if to answer that demand, OshiUplink has appeared. It’s not only Canada’s first VTuber convention, but also a more convenient event for those closer to the east coast.
OshiUplink took place from May 2 to May 3 at the Sheraton Toronto Airport Hotel and Conference Centre, only a few minutes away by car or public transportation from Pearson Airport. As per its name, it was a hotel with a bit of venue space that could be used for panels, meet and greets, small concerts, and so on. Although it lacked the official heavy-hitting presence of hololive, Oshi Uplink included VTubers ranging from small and new to established major names—notably Dokibird, Densetsu.exe, and Ironmouse. In fact, the announcement of Doki as its first featured guest (along with the con’s location) is what convinced me to attend in the first place.
The Meet & Greet Experience
Over these past few years, I’ve become a fan of not just bigger names but also many less notable VTubers, so the fact that OshiUplink provided an opportunity to see those more obscure talents was a real boon. I’m the type who doesn’t go all-in on specific characters or entertainers in any of my fandoms (Ogiue Chika is the closest), so the sheer variety appealed to me. One distinction the convention made is between “featured guests who have official events done as part of the con schedule” and “unofficial guests who have a presence through vendors and exhibitors.” The former got to use the Conference Centre rooms, while the latter had to be set up in the exhibit hall or other means, such as an iPad being literally carried around. The official guests also had Meet & Greets that were first come, first serve ticketed events (the prices for which varied according to individual VTubers and what I presume to be their or their management’s choice). This was in contrast to the unofficial guests, where one had to just line up and wait to talk to them, or flag them down if they were part of a more mobile operation.
All solutions for how to handle guests meeting fans have their strengths and weaknesses, and I like that OshiUplink ended up with different approaches because of that official guest vs. unofficial divide. My only complaint is that having the official guest tickets on a separate website from the OshiUplink registration site got confusing: I ended up managing to get a Dokibird Meet & Greet, but only because I had purchased the more expensive Founders Pass, messed up trying to get the Dokibird one during the early sale, then got a second chance during the general sale. Neither of the systems were a lottery either, which one can argue is a fairer method.
In the end, I talked to a number of VTubers: Dokibird, REM Kanashibari, Poma Pom, and Paige Terner from V4Mirai, Roca Rourin and Akugaki Koa from ChromaShift, Eva Ananova, Izumi Teeny, PillowDear, Chroniko, and Nene Amano. And all of it was relatively painless, official ticket shenanigans aside.
Musical Performances
I also attended four concerts over the weekend, none of which were full 3D and only some of which were truly live, but were still fun regardless.
ChromaShift held a relay called Aurora Harmonies, the highlight of which had to be Roca’s cover of “Smells Like Teen Spirit.” As the first big morning event of Sunday, I have to wonder if at least a few people were introduced to her incredible voice. Another performance that sicks out to me was Lalabell Lullaby’s “My Heart Will Go On” (Celine Dion being a fitting choice for the first VTuber con in Canada).
The full Densetsu.exe roster—Victoria Roman, Phoebe Chan, and Mint Fantôme—went with a series of duets and full group performances. My favorites were their cover of “Magia” from Madoka Magica, Vicky and Phoebe’s “Lion” from Macross Frontier, and their original song “Densetsu MVPs,” which does a nice job of showing off their respective singing styles.
The Hyper Link concert was an eclectic mix of VTubers: the aforementioned Nene Amano and Eva Ananova (whom I only learned about the day of!), but also Kirispica, Kiichan, Penny Puffball, Yukinoshita Peo, and rachie. I had varying degrees of familiarity with all of them and their singing, making for a nice variety. Highlights for me were Spica’s city pop medley accompanied by her own piano playing, Nene’s Nico Nico Douga Medley (and yes, I did recognize a lot of the songs), as well as rachie’s English Vocaloid covers, notably “Monitoring.”
I only caught a portion of the OshiUplink Sunday Music Relay due to scheduling conflicts. I saw Yumemi (who was actually there in the flesh and also had merch at the official OshiUplink booth), Lazuli (whom I’d never seen), and Juna Unagi (whom I was introduced to at Fantôme Thief’s Revenge in 2024). I’m glad I got to see at least the tail end.
And while I didn’t get to see it live, I checked out the VOD of the Undercover Encore concert by the VTuber group Vivaria. There were a lot of group songs, and not just Vivaria members, and I was pleasantly surprised to hear “Live and Let Die.”
A crowd of wotagei lightstick performers were in the audience for each concert I attended live, and presumably all the others as well. I found their participation to range from entertaining to overwhelming. I can appreciate the hard work they put in or the dedication needed to make this all happen, but I also think they can sometimes draw too much attention away from the main show, depending on the circumstances.
Panels
The majority of my time was not spent at panels, but I did attend a few.
The group Beastiez did a playthrough of Oregon Trail, which I enjoyed a lot as a kid. They were hilarious, especially when riffing off the various mishaps and bowel-wrecking diseases that afflicted their characters. My only complaint is that they didn’t do the rafting section at the end, which I consider the highlight of the game. It was like seeing someone skip an awesome final boss, though they were technically going overtime, so it may have been a way to quickly wrap things up.
I also watched Dokibird 1v1 her fans in Apex Legends. The way she bantered with fans while gunning them down was classic Doki and a combination of charmingly abrasive trolling plus nervous energy. Her panel was as advertised, and it certainly did not disappoint
By the time I got to the Ironmouse Panel, it was a Q&A, and I could see just how much her fans adore her. Incidentally, I’m the one who shouted “Rhea Ripley!” when she was trying to figure out who’s her second favorite wrestler.
Then there was a group discussion by literal mom VTubers and what it’s like to have children while in this field. In a space where extreme fans can get scarily parasocial and get angry over the very notion that a girl might have a male significant other or even sexual experience, seeing them casually discuss topics like pregnancy, relationships with their children, and even bad exes was refreshing.
Comparing to Anime Cons
The vast majority of my general convention experiences have involved anime cons, and unsurprisingly, a VTuber one shares a lot of similarities. In fact, OshiUplink actually reminded me more of anime cons from 15 to 20 years ago than what I see today, regardless of size. I think it’s because VTubing occupies a niche space in a way anime used to, and a lot of the interactions between attendees seems to be centered on trying to convey either one’s passion for their chosen subject or to find like-minded fans who understand what makes VTubers special. This has both upsides and downsides, the former of which is a kind of casual atmosphere and the latter is potential for awkward intrusiveness. It can be a double-edged sword for me, personally.
And while there’s a lot in common with anime cons, one major difference to me derives from the inherent differences between storytelling forms such as anime and manga and the way “creator” and “product” are often one and the same with VTubers. An anime con might have some attendees who adore an anime for its characters and world, others who love the artists and voice actors, and so on, and these different groups of fans can be distinct. With VTubers, however, all that divide is blurred to the point of non-existence. It’s kind of like if the author of Frieren was actually Frieren, and you got to talk to her through a screen. It makes the question of whether to attend panels (to learn or to see a presentation) or have direct meetings (so you can talk 1-on-1 and have that more personal experience) both easier and harder.
Because of the greater connection to streaming, I was worried prior to attending that the vibes of the con would be unfavorable to me. Fandom culture has become one where many people are trying to figure out how to leverage attention for more attention, possibly in order to parlay that into a career. While I don’t begrudge people for trying to figure out how to make life work for them, I’ve heard less than stellar things about events like TwitchCon—particularly the way it can be less of a celebration and more of a networking and clout-chasing gauntlet. I feared that I would see this on a smaller scale. Fortunately, I didn’t really get that sense from OshiUplink, or at least not on a clearly obnoxious scale. I might just be so out-of-the-loop that I wouldn’t be involved in those circles where it happens.
Miscellaneous
Similar to many hotels of its kind, being near the airport means being a good distance from the more popular and populous areas. I spent the Friday before the convention traveling to downtown Toronto and enjoying the food, namely getting some Jamaican food at Allwyn’s (beef patty with slaw in coco bread, along with some curry goat on rice) and having a side-by-side peameal bacon sandwich comparison between Carousel Bakery and Paddington’s at St. Lawrence Market. Personally, I ended up liking Carousel’s more because it was more tender and easier to eat.
Doing all that required grabbing the hotel shuttle bus to Pearson Airport, then catching the UP Express train to Union Station. The trip was actually quite convenient, all things considered, and only took about an hour each way total, but that’s not time I wanted to use during OshiUplink itself, especially because the hotel shuttle only ran every 30 minutes. Fortunately, the food options around the hotel were not the worst, and many were within 10 to 15 minutes of walking. I got to try Harvey’s, a Canadian fast food chain that serves burgers, fries, and poutine. I got a buffalo chicken poutine and a Skor shake, though I wouldn’t recommend the latter: The toffee would either get stuck in the straw and make it a challenge to drink or end up at the bottom needing to be scooped out.
The hotel itself also helpfully provided some fairly quick food options. They were of course overpriced, but not as bad as I thought. I tried the in-restaurant hotel breakfast (another peameal bacon sandwich!), as well as the to-go Indian butter chicken, and both were very solid.
The artist alley was a little more crowded than I liked, but I did end up buying some official merch, as well as a Dooby3D sticker.
Final Thoughts
As I was winding down Sunday evening, it occurred to me that as far as I could tell, OshiUplink ended up running incredibly smoothly—especially for a first-year convention. I suspect the staff and perhaps even the volunteers had significant experience with events like this, and I give my highest compliments to them; things can go very wrong, very easily. Perhaps it was because the fan base skews older, but the way the concert audiences would actually listen to the reminders to not run into the main events room made it feel like everyone was on the same side.
I don’t know if there are plans to bring in those heavy-hitting companies. If they do, they might need a larger space or an attendance cap at this Sheraton. I’ve also read some complaints that at least one of the panel rooms were extremely small (around a 40-person capacity), which meant certain events, especially concerts, filled up fast. But even if a bigger venue isn’t in the cards, OshiUplink seems to be in a pretty good situation. I personally got to meet a lot of VTubers I’m a fan of, learn about ones I was largely unfamiliar with, and feel a combination of forward-facing optimism and a sense of nostalgia for times gone by.
Will I attend next year? It’s uncertain, as I might end up prioritizing other places for travel, just because May is turning into a really stacked month for cool things to do. But even if I myself don’t go, I really do hope OshiUplink comes back for the benefit of the fans, the creators, and the VTubers.
At Anime Central 2025, I received an opportunity to interview Pili, the Taiwanese studio that co-produced Thunderbolt Fantasy. I hope that fans of Thunderbolt Fantasy, fans of Pili, and anyone curious about unique media and entertainment can learn from the in-depth answers they gave.
1) Taiwan has a celebrated tradition of puppet theater, something that is likely unfamiliar to much of the English-speaking audience. What are some of the special aspects of Taiwanese puppetry, and how do you incorporate them into your work?
Pili puppetry has a unique advantage: puppets have no facial expressions. This means that all emotions are conveyed through the atmosphere of the scene, the performance of the voice actors, and the impact of the music. As a result, regardless of culture or language, emotions can still be conveyed through the puppets.
About how we incorporate them into our work, we can share how Thunderbolt Fantasy entered the Japanese market as the example. Although the genre is Wuxia fantasy, Urobuchi-san naturally incorporated various elements of Wuxia into the story, which allowed Japanese audiences to easily understand and appreciate it.
2) Given that Thunderbolt Fantasy has both Japanese and Taiwanese dubs, have you found it a challenge to work with two different languages and styles of speech?
The production of Pili puppet performance always begins with the audio. The puppeteers always perform based on the pre-recorded voices. For Thunderbolt Fantasy, once the Japanese script was delivered to Pili, it first had to be translated into Chinese, then dubbed in Taiwanese. The puppeteers would then perform based on the audio data.
However, because there are language differences between Chinese and Japanese, Urobuchi-san would need to revise the script and communicate with every voice actor about how the characters should be performed after watching the filmed version. For example, in puppet theater there are many actions similar with Japanese Kabuki movements and gestures. To voice properly for such movements, Urobuchi-san had to discuss with voice actors to provide guidance and suggestions in person.
3) Do the puppeteers treat their performance as akin to live theater when recording, or is it more like a movie or television show production?
Our production now is closer to that of films and TV dramas. The biggest difference is that traditionally Pili puppet performance was live on stage. In this case, the puppets’ heads must face the audience. However, now in a studio setting, the puppets’ heads must face the camera, so the concentration and ways of expression become different. In addition, we use narration, jump cuts, and other techniques to change settings and transition the scenes.
4) I must ask, how did a giant robot end up in Thunderbolt Fantasy? It was an unexpected choice, but speaks to the fun and unpredictability of the series.
Robots are one of Urobuchi Gen’s personal interests. He is also a big fan of Kamen Rider and Tokusatsu, so he came up with the idea of including them and designed that robot. Pili also filmed similar things before, such as scenes where puppets battled a giant gorilla. In our Su Huan-Jen movie, we collaborated with Japanese studios to create the monster Qilin. We really enjoy Tokusatsu filming style, so Urobuchi-san took the opportunity to design and incorporate more of these elements into the work to make it fun.
5) Are there any plans to bring more of your shows to English-speaking audiences? I ask simply because I would love to see more.
Of course, we do have plans. We are working with Urobuchi-san on other projects, and both now and in the future, we will be working on scriptwriting and concept design for works that appeal to a wider fanbase, especially to those who are not fans of the Wuxia genre.
6) I’ve read that one thing you had to learn from making Thunderbolt Fantasy is that Japan is more accustomed to a slower pace for action scenes. Could you elaborate on how you changed things to accommodate this?
From the very beginning, we have been constantly adjusting the pace. Especially when shooting the first episode of the first season, we studied how to present the puppets’ body movements in greater detail so that the audience could better appreciate their performance. We knew that the fight scenes in puppetry always switch too quickly, like in seconds, and the puppets have no facial expressions. The audience would need more time to process the information and understand the plot. That’s why we kept adjusting the pace. I must say that we rely on puppeteers’ live performance and improvisation as well as the director’s guidance and arrangement.
7) How do you puppet the characters relative to the voices? Does voice come before the puppetry, or vice versa? Or perhaps there’s a back-and-forth process between the two stages?
First, we record a reference track in Taiwanese, and the puppeteers perform based on that. Next comes the official dubbing. Since the official dubbing could involve various adjustments and changes, we need to reshoot and revise the makeup. This back-and-forth adjustment continues until everything is finalized. Once finalized, we proceed to the last phase of handling Japanese dubbing.
8) Are there unique aspects of specific characters that require puppeteering them in special ways? For example, is controlling Shang different from controlling Lin?
One of the biggest advantages of Thunderbolt Fantasy is that the script and character designs were developed simultaneously. This allowed our puppeteers to imagine the personalities of the characters more concretely and design unique gestures based on the script since there was sufficient information. For example, Shang scratching his nose, or Lin carrying a smoking pipe in his mouth, which looks humorous. Because we had enough prerequisites and Urobuchi-san could provide explanations in time, the puppeteers were able to enrich the characters as best as they could.
9) Is there anything unique to the technical process of making Thunderbolt Fantasy that differs from your other series?
At this point, Pili’s puppet drama series updates every week, like Shonen Jump in Japan, so the production schedule is extremely tight.
During the technical process, for example, creators often need to design characters based on only a few lines of description, while voice actors must imagine the voices of the characters before even seeing the actual designs. When these two processes run at the same time, mismatches are likely to occur. Just imagine they designed an old lady, but voice was like Rie Kugimiya’s tsundere tone.
Producing weekly episodes is very demanding. Ding Bi, who is sitting beside me, works on the weekly-updating drama. His team often found that even after finishing filming and wrapping up, they would still discover parts that needed reshooting, which was stressful and frustrating.
On the other hand, Thunderbolt Fantasy is different. Since both the script and pre-production details were ready in advance, everything was clear, which made filming much easier. Moreover, our Pili team has developed such a strong teamwork spirit over the years that we can almost instinctively know the best way to shoot a scene, so the whole process was quite smooth.
10) How involved was PILI with the overall story and the character personalities in Thunderbolt Fantasy? What was it like to work creatively with NITRO PLUS?
Pili’s involvement is very high. Although most of the character designs from NITRO PLUS are for protagonists, we are in charge of classifying characters by levels of importance. Pili also contributed a lot to the character design. For example, many of the demon realm generals and lieutenants and other organizations were designed by us after internal discussions.
NITRO PLUS trusted in Pili’s puppet-making, so their feedback was generally positive with few comments on things that need to be corrected. For the process of converting 2D character designs into 3D character models, we also communicated with NITRO PLUS frequently, so our interaction with them has been very close.
NITRO PLUS is a highly disciplined and experienced company. Even though its core business is gaming, its creative strength and design framework are astonishing. Pili really needs to learn from them because our style in designing sometimes tends to be loose and irregular, so working creatively with NITRO PLUS was previous experience.
11) Looking back on your long history with Thunderbolt Fantasy, are there any important lessons you’ve learned from making it?
To be honest, ten years have not been easy. Collaborating with Japan was a huge challenge for Pili.
The first lesson is cultural differences in language. For example, in Japanese texts or messages, expressions like sumimasen can sound indirect or ambiguous for us considering the seriousness, but they could be a very clear refusal from the Japanese side. We might think the level of that dislike from them was not strong at all, but in fact their rejection was much stronger than we expected. What’s more, when we said something like “Okay, we can consider this proposal and maybe give it a try”, the Japanese cast sometimes understood it as a clear decision to move forward along this plan.
Another big lesson is in the character market and community management. In Japan, these aspects, as well as production details, are treated with great importance, while Pili had not given them as much consideration before. After we started working together with Japanese people, we learned a lot from them in these areas.
About technical skills, we also learned tremendously. Through Thunderbolt Fantasy, we had the opportunity to learn from Japanese creators and companies other than NITRO PLUS, such as monster design just mentioned, sound production, etc. In particular, the sound director Miwa Iwanami gave us invaluable advice on how to strengthen the use of voice performance to make puppet theater characters more powerful.
Once the interview was over, one of the puppeteers demonstrated the way they control the puppet of yandere princess Cháo Fēng.
The staff also asked me how I got into Thunderbolt Fantasy. And then they even gave me the chance to hold Cháo Fēng’s puppet myself!
It’s literally one of the best things I’ve ever gotten to do.
Anime NYC 2025, held from August 21 to 24, was the second time since the New York–based convention moved its dates to take place in the summer. The decision allows it to use more of the Jacob Javits Center, but comes at the cost of being stuck in a crowded con season, as well as the risk of unpleasant heat and humidity. Luck was in Anime NYC’s favor this year, however, as the weather was pretty much ideal despite the weeks prior being pretty dire.
As always, the convention is very concentrated on its Exhibit Hall and its events. There are plenty of panels featuring industry insights and announcements of upcoming plans, but they tend to be geared more towards promotion, with a few less business-focused gems here and there. For me, because Anime NYC has become a big event for VTubers, I’ve found myself dedicating more attention in that direction.
The Takahashi Yoko Concert
I don’t always attend the concerts at Anime NYC, which require an additional ticket purchase. But there was almost no price that would keep me from seeing Takahashi Yoko, the singer of the Neon Genesis Evangelion opening. The series has been such a part of my life over the course of decades that I jumped at the chance to hear her sing live.
Curiously, her tickets didn’t sell out that quickly, and there were plenty still available even after a small group purchase. I could see people not making the connection between Takahashi and the evergreen “Cruel Angel’s Thesis,” or that we’ve hit a point where Evangelion is considered more history than anything else among newer generations of anime fans. More for people like me, I guess.
Takahashi performed songs found in Eva such as “Fly Me to the Moon” and “Soul Refrain,” but her set was not just limited to music from the franchise. She was also accompanied by two young backup dancers, who were quite impressive. A part of me hoped that Hakos Baelz, the hololive VTuber who specializes in dance and was in NYC at this time, was in the audience and could see them. Naturally, Takahashi capped off the concert “Cruel Angel’s Thesis.”
There were some issues with the audio that took time to resolve. The acoustics of the main event space aren’t ideal for concerts in the first place, and there was something about the setup that drowned out her voice to a degree. I brought ear plugs, but had to take them out at first because I couldn’t hear her well enough with them in. There was also a tech flub on one song that forced them to restart it. In spite of all that, Takahashi’s voice was simply sublime; it sounded even better in person.
During the concert, Takahashi gave a speech in English, reading from some prepared notes. She talked about how she basically grew up with music and was going down the path of the classically trained, but various issues kept her working as a session musician. She was initially hired to sing one of the versions of “Fly Me to the Moon” for Evangelion, knowing nothing about it. At her first recording, she was accompanied by just one bespectacled man in a sweatshirt and sweatpants—Anno Hideaki. After this, she was asked to sing the opening as well.
Takahashi described her relationship with Evangelion as a complicated one, but also something she’s overall grateful for. It boxed her in, but without it, she would not have been able to achieve such success or have so many opportunities. She talked about how her favorite episode of Eva is actually 26 because of one scene in particular: In the “abstract sketch” space seen in the finale, Shinji is shown floating through an empty void with total freedom, but the lack of any boundaries makes it intimidating. He is then drawn a ground, limiting his freedom in one way. However, the boundary that exists now allows Shinji to do what he couldn’t before, which is walk and find a way. Takahashi basically feels the same way about Eva.
hololive
The VTubers of hololive have become a staple of this event. Returning to the Exhibit Hall was the large booth featuring convention-exclusive panel streams, as was the hololive World Tour (more on that later). Curiously, while past Anime NYCs have also included a big hololive panel as well, that wasn’t the case this time around.
The Booth
One big change from previous years was that the panels were spaced further apart on the schedule, which I found very welcome. It gave me an opportunity to check out other things, and helped mitigate the potential fire hazard that forms with the enthusiastic crowds. I didn’t attend every panel, but every one I did see was fun in its own way.
I’m a fan of all the holoX ladies, so I really wanted to see Takane Lui. She did not disappoint, especially when it came to karaoke, but the antics of her panel partner, Shirakami Fubuki, made it even better. The fox would bust out a 2D Yagoo mask and a pair of muscular arms on occasion, which culminated in their fitting presence during the song “Onegai Muscle” from the anime How Heavy Are the Dumbbells You Lift?
The Tombstone panel, so named because Calliope Mori is a grim reaper and Koseki Bijou is a living gemstone, had them answering “Would you rather” questions related to New York City. The NYer heavy crowd naturally had a lot of opinions, and it was entertaining to hear the VTubers try to twist logic to suit their choices.
I also went out of my way to see the hololive Indonesia karaoke relay, which had Kobo Kanaeru, Airani Iofifteen, and then Pavolia Reine. You could tell that people really love Kobo’s singing because the normally boisterous crowd was almost pin-drop silent as she covered “Mayonaka no Door,” “Cruel Angel’s Thesis,” and other tunes. Kobo was going to sing “Dragostea Din Tei” too, but a technical mishap prevented her from finishing it. Iofi amazed me by singing “Do You Remember Love?” and I even got noticed by the camera when she was looking around for holo merch.
If I had any big complaints, it would be that standing on concrete for extended periods is really tough on my feet, even though I have good shoes. It’s possible to have better flooring for a booth, and I think Cover Corp can afford it.
The World Tour
Anime NYC was selected as one of the stops on the world tour, which is officially titled ‘hololive STAGE ‘25 World Tour -Synchronize.” This is not to be confused with the hololive EN 3rd Concert, All for One, which took place the same weekend. You can read my review of that here.
The different lineup from last year brought a different energy that was less “pop diva.” With Calliope Mori, IRyS, Nerissa Ravencroft, Momosuzu Nene, and Kureiji Ollie on stage, you had a combination of dedicated singers and all-out entertainers. Personal highlights included the covers of “Shijoshugi Adtruck” and “Don’t Say Lazy,” as well as the world tour official song, “Live It Loud!” which I think does a good job highlighting the strengths of each performer.
I do have a few complaints. The first two are ones I’ve already mentioned, namely the whole “standing on concrete for hours” thing like at the booth, and the iffy acoustics of the Main Events hall. The third is what I’d consider a very mild gripe: a good amount of the songs performed were also at Breaking Dimensions last year. However, I know I pay a great deal of attention to the musical performance side of hololive, and this is less of an issue for those who watch events less often.
Each stop includes two additional guests, and New York City’s were Natsuiro Matsuri and Haachama, aka Akai Haato. Matsuri is a nice middle point between singer and entertainer, and I’m a big, big fan of Haachama in general. I was a little sad that I couldn’t see the entirety of Haachama’s panel last year at Anime NYC, and I consider myself very fortunate that I managed to purchase a ticket to Synchronize. I even brought my Haaton wearable head towel so I could represent, and spotted other Haatons (i.e. Haachama fans) while waiting in line. For the concert, she performed her first original, “RED HEART,” and its simplicity is something that goes back to the very core of VTubing in a way I enjoy immensely.
The Stamp Rally and Other Merch
There was a great deal of hololive-related goods available at the con. They had very visible representation in the Artist Alley, and the official booth gave away a con-exclusive trading card featuring the participants of the world tour, as well as a card for a stamp rally. The prize for completing the rally was a sticker set with all the ambassadors from hololive MEET ‘25, the general umbrella for conventions and other events around the world. However, it required participants to make purchases at specific booths, and if you got there on later days like I did, it meant making more expensive purchases. This is exactly why I ended up caving and getting the Hakos Baelz hoodie from Ohmonah. I had been eyeing it since July, and the quality and comfort (on top of the stamp for the rally) was too much for me. It’s so good, man.
Other VTubers
Likely because of hololive’s presence every year now, Anime NYC has also become a focal point for VTubing on the east coast. Merch-wise, big names like Sameko Saba, Nimi Nightmare, Dooby3D, Mint Fantôme, Dokibird, and Shylily were all over the Artist Alley. Ironmouse and CDawgVA also had a panel promoting a new game.
Additionally, the Exhibit Hall had a couple booths featuring Meet & Greets with smaller VTubers all weekend long. I used this opportunity to talk to Pillowdear, and complimented her for doing fun and creative ASMRs like her Easter stream. This was my second ever Meet & Greet, and I found it fascinating that you really get the gamut of participants. I saw someone who was clearly a dedicated fan of Pillow, but also people who literally had no idea about or even VTubing in general. I guess I fall somewhere in the middle.
There was also a Phase Connect karaoke event that I ended up not attending, but I did finally buy coffee from their booth. I got the Ember Amane beans, and while I also wanted Dizzy Dokuro’s, I foolishly forgot to take into account that her blatantly shilling-oriented original song made it a hot commodity. (Expect an Ember coffee review at a later time.)
Other Panels
Tsuda Kenjiro and Yu-Gi-Oh! 25th Anniversary
I attended the Yu-Gi-Oh! 25th anniversary panel, which featured the Japanese voice of Kaiba Seto, Tsuda Kenjiro. These days, Tsuda is everywhere, but this was basically his first really big role. For those who grew up on the English dub, I still think it’s worth listening to his portrayal of Kaiba, because it gives a similar yet different flavor to the character. For the panel, he did a live reading of a scene from the Yu-Gi-Oh! movie The Dark Side of Dimensions.
There were a few stories Tsuda told that I found particularly interesting:
Back when Yu-Gi-Oh! Duel Monsters was airing, the voice of Yugi (Kazama Shunsuke) was still in high school, and he would sometimes come to the recording studio in his school uniform.
When Tsuda recorded a voice-over for a Yu-Gi-Oh! video game, he saw a lot of comments online about how “Kaiba sounds so old now.” This made Tsuda want to show that he could still voice the character, and when he was asked to come back for Dark Side of Dimensions, he relished the chance.
Tsuda talked about how unlike most other shounen series, where the characters get amped up and then calm down, Yu-GI-Oh! characters are basically dialed up to max at all times. It makes recording for other series way easier by comparison.
One-Punch Man and JAM Project
I could not attend the entire One-Punch Man panel due to having to leave for All for One, but I do want to make sure story in particular is told for posterity. The guests for the panel were the members of JAM PROJECT, who do the One-Punch Man openings. In recounting the creation of the first opening (“THE HERO!!”), leader Kageyama Hironobu recalls going to his bandmates and vaguely humming the lines of the first verse without any lyrics, including the part that would eventually go Nandatten da? Frustration!/Ore wa tomaranai!—which Kageyama recreated as a series of ambiguous squeals and yells. Apparently, the other members looked at him funny and basically replied, “Are you serious?” I later found out that they played “SKILL” from Super Robot Wars in addition to One-Punch Man music. I wish I could have been there, but alas.
The Food Is Too Expensive
Like so many other convention centers, the Jacob Javits has never been cost friendly when it comes to food options. For anyone looking to save money, I never recommend anyone eat the con itself, and I do it because I see trying out different overpriced meals to be part of the experience—kind of like gambling in Las Vegas or Atlantic City. However, even I felt that the prices were getting beyond ridiculous this year. Things were close to if not exceeding $20 when they weren’t that way last year, and I will definitely bring food with me next year. Moreover, there were certain options available last year that weren’t present for 2025: Korilla and its Korean dishes were sorely missed, as was the Indian section in the food court area.
If I had to recommend one place, it would have been the BentOn stall in the Exhibit Hall. While the prices are still not great, the bento options (fish or fried chicken) are the best bet for getting a well-balanced meal at Anime NYC.
Cosplay
Final Thoughts
Anime NYC has long been trying to be the Anime Expo of the east coast, and it has succeeded in essence. It gets big guests from Japan and around the world, has a major industry presence, and it looks and feels big. If you want to attend events and see things you wouldn’t be able to otherwise, this con is generally a good place to be. However, that comes at a price, in that it can sometimes feel overwhelming the same way one might get bombarded by neon signage. The difference is that Anime NYC is like a less extreme AX, where there are fewer good things (AX being on the west coast gets it a lot more opportunities for interesting guests) but also fewer bad things (Anime NYC almost never has the really bad crowding issues of AX).
I think this is why I’ve come to enjoy the VTuber side of Anime NYC so much. While it’s definitely part of the “corporate” presence due to hololive (and other VTuber companies to a lesser extent), that side still feels very fan driven. I would like to see some of that spirit and energy on the anime and manga side as well.
Anime Central 2025 featured the Global Anime Challenge, what is described on ACen’s official site as “a three-year program funded by the Japanese government’s Agency for Cultural Affairs. Its goal is to nurture the Japanese anime industry’s next generation of creators. The program participants aim to develop brand new and exciting contents for the ever increasing global anime fans.”
While it’s not entirely clear how the GAC plans to accomplish this, their panel at the convention gave some basic ideas. Essentially, the animators do internships abroad with the eventual goal of making pilots or short films to be presented at Annecy and AX. They’re also involved in participating in and even creating events, such as a lecture by animator Inoue Toshiyuki, who worked on Ghost in the Shell and The Eccentric Family, among numerous other works.
The guests at ACen were Sato Keiichiro (director of Frieren), Nakame Takafumi (producer of Frieren), Tanimoto Kaoru (calligrapher and animator whose brush work was used extensively in Sengoku Youko), and Kudo Mana (animator on the Cardfight!! Vanguard franchise). The panel began with introductions from all the guests, where they showed things they’ve worked on, as well as drawings and other items of note from childhood. It was a nice window into how these creators discovered the joy of creating.
Nakame’s early drawing was of him capturing a stray cat as a pet, and his first manga he ever bought: Vols 3 and 10 of KochiKame. He showed the opening to Witch Watch, a show he helped produce.
Saito showed the dream of his five-year-old self, to become a truck driver selling toys. Another drawing was a perspective shot looking down at the school yard from a window in 4th or 5th grade. (It looked extremely good for elementary school.) His hometown is known for getting a lot of snow, but the only reason the drawing had lots of it is because he didn’t want to color it. His featured video was from Bocchi the Rock!
Kudo Mana’s childhood art was of a stuffed pheasant in her grandmother’s house. She then showed some clips from Cardfight!! Vanguardwill+Dress of a character freaking out and hitting her shin on a bench.
Tanimoto’s first drawing was a very crude one of him with his mom and dad. He also made a picture book with his mom. His showcase was of his calligraphy used in attacks, episode titles, and the end-of-series image for Sengoku Youko. In one case, there were numerous talisman papers, and despite it being the same words written over and over, it was not a copy-and-paste job. Instead, Tanimoto actually wrote separate ones for each piece of paper.
After the introductions to each creator, they had a Q&A mixed with a live drawing. Saito drew Kikuri from Bocchi the Rock! Kudo decided on Yuyu from Cardfight!! Vanguard crossdressing. Tanimoto did two girls from Sengoku Youko, and Nakame didn’t draw.
Tanimoto was asked when he was satisfied with the storyboard, and he said he would try to get it good enough initially and then spruce it up during the QC stage.
Nakame wants to learn what people love overseas through the Global Anime Challenge. He works domestically in Japan, but wants to co-produce with great animators abroad.
Saito’s favorite part of Frieren is the introduction and how it feels like both an epilogue and the beginning of a story.
According to Nakame, the challenge of making the Frieren anime is that both the action sequences and the everyday life parts need a lot of work.
They all collaborated on artwork to be used on various merchandise, such as t-shirts and even alcohol. “Chicago” is written on the shirt and poster using the official kanji to spell it: 市俄古.
I am not a hardcore fan of The iDOLM@STER, but I understood what a big deal it was to have Nakamura Eriko and Imai Asami as guests, aka the respective voices of first-gen “765 Pro” members Amami Haruka and Kisaragi Chihaya. I was able to attend one of the panels for Eriko, but sadly couldn’t make it for any of Imai Asami’s.
Because I’m not an iM@S Producer or anything, there are things I probably got wrong. Nevertheless, I still want to post my notes from this panel. In this day and age, simply having information out there on the internet to find can be difficult. Also, The iDOLM@STER just celebrated its 20th anniversary, so I figured it would be a good time to post this.
Eriko was in Chicago for the first time, and the panel was a Q&A. She turned out to be quite the jokey type, or at least that’s how she presented herself. She mentioned getting lost trying to get to the Opening Ceremony, and that her dream was to be “more biggest,” i.e. taller, so she can see further back.
When asked how she decided to become a voice actor, Eriko said she thought it was the field where she thought she could stand out most as a performer. She described her path there as being haran banjou, a Japanese term that means a life of many ups and downs, but can also mean life is something where surprising things can happen. Someone followed up by asking what it was like to audition for Haruka, to which she first pretended she couldn’t remember, then elaborated that it actually didn’t involve any singing. She received a script and a storyboard, and played Haruka looking out from the train. She said that this was the first and only time she had such a free-feeling audition.
Later, Eriko elaborated on being a part of that first generation. They recorded their parts individually: just her, the script, and the sound engineer. Back when it was just that original game, she had to imagine what it was like for everyone to be together, and the first time she heard it all together, it was like 765 Pro had come to life.
When she got the chance to perform songs from a different branch many years later, and for others to perform songs from hers, she responded that seeing others build on the foundation they laid was a valuable experience.
The audience of fans got her to say the line, “Producer-san, Dome desuyo! Dome!” in reference to Haruka being an idol and the importance of the Tokyo Dome as a major landmark for idol performers. Eriko said the last time she was able to say that was in fact two years ago at the Tokyo Dome.
When asked what advice she would give a voice actor, Eriko revealed that there’s a concert in August, and her answer is in that pamphlet.
As for what has changed, Eriko mentioned that she chats a lot more with people after recordings because she’s been doing it for 20 years with all the staff and everyone else supporting them. Eriko is also always sending messages on LINE, especially stickers, to the point that the others tell her to stop. The members of Million Stars tell her that they need to sleep.
One person asked Eriko what she thinks about when she’s out there as a major representative of The iDOLM@STER. Her response: “I don’t think about that at all. Haruka is just a 15-year-old girl, she can’t have the wait of the franchise on her shoulders.”
Nakayama Yoshiko is the producer of the anime Anne Shirley, based on the Anne of Green Gables novels, and Inoue Honoka is the voice of the titular heroine. This interview was also conducted after I had already attended the Anne Shirley panel at Anime Central 2025.
Hello, thank you for coming to this interview. I really enjoy Anne Shirley; I’m a fan of Anne of Green Gables as well, so I was happy to see this new anime being created, as well as Ms. Inoue’s portrayal of Anne.
Inoue: Thank you!
Between the beloved 1979 anime and the general popularity of Anne of Green Gables in Japan, as well as the numerous adaptations around the world, was it intimidating to create a new Anne anime? How did you overcome this pressure?
Nakayama: I was a fan of the original novel, and I think this applies to everyone who loves Anne of Green Gables, but I think Anne exists in all of us. As for me, I saw the story a little differently, and that’s exactly why I wanted to make this anime.
So that’s why I wanted to start this project. I’m aware of Director Takahata’s anime from 1979 but I haven’t seen it myself. When the project was greenlit, I was excited. However, the rest of the production staff was probably a little nervous.
For Nakayama: I believe female anime directors are relatively rare, and female producers even moreso. Do you have any advice for other women who might aspire to do the same thing?
This is my first time as the main producer for the project. As for advice, you need a lot of stamina, a lot of love for the project, and have a strong heart, and to not give up.
My next question is directed towards Inoue-san. I actually interviewed your mother, Inoue Kikuko, back in 2019. Getting to interview you now is amazing, just because I’ve gotten to talk to both mother and daughter over the years. Back then, she told me that she practiced with you at home. Is there any advice that you really took to heart from your mother?
Inoue: I’m honored to meet you as well—thank you very much! My mother always tells me to give it your all. It’s been a while since I debuted, so we haven’t practiced for a while, but with Anne Shirley, it’s different. My mother is a very big fan of Muraoka Hanako-sensei’s translation of Anne of Green Gables, so every episode, she asks if she can watch it with me. I think the Anne Shirley–esque qualities in my mother might be an influence on my performance.
Inoue-san, Anne is such an expressive, talkative character, that playing her must be a real feat. Is there anything you try to keep in mind as you voice Anne Shirley?
Inoue: I don’t particularly keep anything in mind, and I don’t really have a specific way I go about a role, but I do think a lot about how I want to express Anne’s lines when I perform her role.
This next question is to both: What messages do you think Anne Shirley the show carries for a new generation discovering Anne of Green Gables for the first time?
Inoue: I think the message is to not lose things like your imagination and your hope, and to continue living as yourself. Also, within our daily lives, there’s just beauty everywhere and it all has meaning, and I think that’s what Anne is trying to tell us.
Nakayama: I have a similar answer, but I think if you approach things with imagination and courage, you can make it through even when times get tough or you feel trapped, and you might even change life for the better. That’s what I want to convey through this work.
One pleasant surprise from Anime Central 2025 was the presence of the new Anne of Green Gablesadaptation, Anne Shirley. The convention had two staff members as guests of honor: Producer Nakayama Yoshiko, as well as the voice of Anne, Inoue Honoka. Inoue is actually the daughter of veteran voice actor Inoue Kikuko (Belldandy, Aina Sahalin, various mom characters throughout the years).
Both guests did commentary over a screening of the first episode, providing a lot of insight into the production process. These are my notes from their Anne Shirley panel, but I will also be posting my interview with Nakayama and Inoue in the next few days as well!
They actually had the full animation done for the recording, a rarity. Inoue couldn’t stop being absorbed by the beauty of the animation.
She did the fish-eye lens scenes over and over.
Marilla’s voice actor has pretty much no anime experience before this, and is actually primarily a stage actor. Inoue once worked on dubbing a film with her and felt at ease.
Nakayama wanted to convey just how talkative Anne is to both people who are familiar and unfamiliar with her character.
They went to a great big lake the day before just like in the show. Specifically, Lake Michigan.
When Anne first spots the Cuthberts’ house, the yellow color of it is meant to show how Anne sees the house in her head.
For Nakayama, Anne walking into the house while crying is a really funny contrast. For Inoue, Anne going from crying to not crying all of a sudden left an impression.
Nakayama feels bad that Honoka has to keep up with a character like Anne who flips moods all the time.
Nakayama: Marilla is kind of tsundere. Matthew is strong and silent but has to go along with what Marilla says.
Honoka was told she could do Anne’s gestures while she was recording (like covering her face), which is unusual.
Nakayama: Anne’s personality and maturity for her age means she doesn’t try to make fun of anyone even if they are being hard on her.
Honoka: “I couldn’t do that.”
Nakayama: “Same.”
The screening was followed by a Q&A, which continued the look into their process.
The biggest challenge was finding a studio to actually do the show; the trends right now are isekai, action, and otaku-oriented works. The 1979 version also looms large and studios thought it would be difficult.
Inoue watched the old anime as a kid, and in middle school she learned about Lucy Maud Montgomery. That made her really want to land the role. She thought it was as unlikely as winning the lottery.
While Nakayama and the staff had to cut a few scenes due to time and money, the basic story remains unchanged. There is one thing she technically changed: adding a stoat.
Inoue prepared for the role by rewatching the 1979 anime. She also read the Japanese translation of the original books by Muraoka Hanako (apparently a very famous and beloved translation), and even reread it again after landing the role.
For Anne, Matthew, and Marilla (but not Gilbert), Nakayama had a clear idea of how she wanted them to sound, and Inoue was in top 3 for Anne.
At the audition, Nakayama pushed for Inoue. There was someone else who was in the top running but she can’t remember who it was, and another who would have been too busy.
A lot of the cast members are similar in age, and they go out for food after recordings, to get Korean food and such.
In June 2023, they all went to Prince Edward Island (where Anne takes place). The art director’s suitcase got a large crack, but nothing was stolen.
As a kid, Honoka didn’t name everything like Anne does, but she could feel the life force from nature, and thinks Anne is similar.
Some Japanese fans took issue with the color of Anne’s clothing and such, but they have experts who look at this stuff, and they hope the fans understand that not everything can be as they want.
One of the hardest things for Inoue was having to match the lip flaps, but it was fun actually getting to see Anne’s expressions. It’s like she really is in Green Gables.
Afterwards, everyone attending the panel got a piece of promotional art autographed by both Nakayama and Inoue. I noticed how above and beyond Inoue seemed to go to appeal to her fans, and I think she’s going to be a very beloved performer in the years to come.
