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In my most recent trip to Japan, I attended two different Love Live! events in one day. The first was “Bokura no Love Live! 12,” a doujin event. The second was “Love Live! Sukufesu Kanshasai 2016″ (School Idol Festival Thanksgiving 2016) in Ikebukuro, an official event held in celebration of the School Idol Festival game. The contrast between an event that revels in fan expression and one that presents everything in an official capacity is interesting to me, because I think it shows both the strengths and weaknesses of each approach to fandom.
Though I had the opportunity to take a look at both, a question occurred to me as I was traveling from one to the other: if I could only go to one, which one would I choose? I took this from the perspective of a Koizumi Hanayo fan. At the doujin event, I could buy Hanayo-dedicated fan comics from people I knew were fans of Hanayo as much as I am (if not more!). I found a bunch of amazing comics and parody works, and I even got a couple of amazing tote bags that might be my favorite purchases of my entire Japan trip. There’s sort of an interesting magic to buying things in person that get lose with just ordering online, and it’s enhanced when you know the person behind the table put their heart and soul into it. Overall, it was one of the best highlights of my trip to Japan.
However, doujinshi are, of course, not official portrayals of the characters. This is in many ways the advantage of fanart, fanfiction, etc., but what’s also clear is that the fan material feeds off of the official presentation. Much for the art at “Bokura no Love Live! 12” was clearly inspired by the images found in magazines, the mobile game, and everywhere else. There is a kind of power to official merchandise because it presents the characters at their best, but it’s also limiting because they can’t stray too far off from what is deemed “okay.”
For example, the shirts being sold at “Thanksgiving 2016” were all prints of existing art that could be found in lots of places, while the merchandise sold at “Bokura no Love Live! 12” felt a little more unique because they weren’t officially sanctioned images slapped onto clothing. That’s not to say official Love Live! merchandise has to look blunt and straightforward (I actually also got a swank Love Live! polo shirt just the day before these events), but they seem to lean in that direction.
Another instance of the difference between events has to do with yuri and pairings. Love Live! encourages yuri to a certain degree, but has to keep it implicit because it’s supposed to appeal to all sorts of people (and indeed I saw everything from little girls to businessmen at Thanksgiving 2016). A doujin event, on the other hand, can go as explicit as possible in more ways than one, and can even merge the innocent with the racy and have them all exist in one place. Characters can be drawn to fit the whims of the artists to a greater degree with the doujinshi, but they necessarily must feed off the source material at least to a certain extent. Nico/Maki doujinshi can go the distance, but the dynamic between them is rendered through the anime, the game, and other canon resources.
Official events also have resources on their side. One of the highlights of “Sukufesu Kanshasai 2016” was a live School Idol Festival game where nine different people played simultaneously, each one commanding one of the buttons by stepping on them. The cards being used where all nine of the μ’s girls, but with special outfits for the event, and they were surrounded in a mall by throngs of fans dancing and singing along. A doujin event really couldn’t pull that off to the same capacity, nor could they be the place to get official Love Live! Final μ’s Concert shirts, which were a popular item at both events that granted legitimacy to the wearer’s fandom.
The division between official and unofficial events can be rather gray because of how the two feed into each other. The output of fans, albeit more often in the form of monetary purchases, informs the official companies responsible for Love Live! just what the fans are into. The fans, as mentioned, take inspiration from the official material, and convert it, thus spreading the joy of Love Live! further.
It’s hard to choose between the two when both have so much merit, but ultimately I think I would have gone for the doujin event just so I could have that experience of walking around and buying fan-made works. It’s sort of the difference between attending fan panels and official panels at conventions. The official panels are where you can meet the creators, but many times they’re curated and micromanaged heavily, whereas doujinshi and fan panels can stray from the “company line” so to speak. This makes them, in my opinion, overall more interesting, but I’m well aware that all of the Hanayo rice memes required the source material to emphasize it in the most amusing ways.
The last thing I’d like to talk about is actually a little card found in the bag of freebies from Thanksgiving 2016 which is a drawing of some of the School Idol Festival-original girls. Unlike The iDOLM@STER, there is a clear stratification between the main girls (be they μ’s or their successors, the new group Aqours), who are considered “Rare Cards,” as opposed to the “Normal Card” girls that are basically fodder for the former. Here, even at this official event was a small token of appreciation for the lesser idols, and a part of me wishes that someone, be they official creators or doujinshi creators, would take the next step and flesh them out. The result would be different on either side, but both would provide value in their own ways.
PS: I mentioned a freebie bag for “Love Live! Sukufesu Kanshasai 2016,” and I happen to have an extra one. I’ll be holding a contest soon to determine the winner, so stay tuned!
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Coinciding with Anime Boston, this weekend, March 25-27, 2016, coincides with the first ever Love Live! School Idol Festival tournament, titled “School Idol Festival Score Challenge & Thanksgiving 2016. Given this occasion, a few questions come to mind. First, how sound is LLSIF as a competitive game (are we indeed “esports”)? Second, how many people will show up? Third, are people actually viewing this more as a tournament, or more of a gathering of like-minded fans?
Rhythm game tournaments have over the years been a staple of arcades and anime cons alike. Right beside the fighting games of Chinatown Fair were the sounds of stomping and eurobeat from Dance Dance Revolution, Beatmania, and other games of their genre. One big difference between LLSIF is that luck is a heavy component of the game, and this potentially hampers its competitive depth.
Not to say that luck automatically precludes or is counter to skill (because it doesn’t), but between being a free-to-play mobile game that encourages you to funnel money into what is essentially a gashapon machine (or a blind booster pack, to take a term from trading cards), and the fact that given cards have effects that trigger at random, a lot is left up to probability.
Compounding the issues of luck, actually, are things that involve no element of chance whatsoever. There is an upper limit to how skilled one can be in School Idol Festival, in the sense that perfect play is simply hitting all of the notes, well, perfectly, and this can be accomplished even with a randomized note distribution. If there are theoretically perfect teams (different for each tournament song, I’d imagine), then it actually all comes down to how often those card effects will trigger for individual players.
Does all of that matter, though? While I have not asked those who are personally attending Score Challenge & Thanksgiving 2016, I have to wonder how many are actually motivated by the desire to win. Perhaps in the backs of their mind they realize that the perfect game is at the same time all but obtainable yet shackled at the feet by that specter of probability. In that case, it becomes more about displaying one’s skills, to show that one has the fingers or thumbs to impress and astound.
In the world of competitive games, “waifu devotion,” that is to say an inclination towards beautiful female characters is very real. Whether the ladies are the best characters in the game or the bottom rung, players will stand by their girls. Love Live!, with its all-female cast of charmingly unique characters, is waifu central, and many who play LLSIF are empowered by this mentality. This does not even fall along heteronormative lines, either. Female Love Livers have their waifus just as male fans do, and the range of their affection goes anywhere from empathic to platonic to lecherous. On some level, I don’t think that hunger for victory is the sole motivating factor behind even LLSIF’s most competitive players.
Indeed, if I were going, I would not hesitate to use a team of nothing but my favorite character, Hanayo. Did you know that she’s good at origami?
That last question I asked, about whether this will be more of an actual tournament or more of a gathering in the eyes of attendees, is something of a trick question. Aside from a few exceptions, pretty much all game tournaments, big or small, esports or otherwise, inevitably carry with them some degree of a festival-like atmosphere. The larger the total attendance, the more likely this is to happen, because people know that they are in the company of comrades, at least on some level.
In other words, I hope all of you attending have the times of your lives.
As New York Comic Con has come to rival San Diego Comic Con and become its east coast counterpart, the scope and demand of NYCC are constant points of consideration for any potential attendee. While the convention pretty much improves every year and little can be faulted for how it’s run, the guests they bring, and just the amount of stuff there is to do (aside from perhaps the inevitable over-emphasis on professional and industry panels), I find that there’s a certain evaluative process I notice my friends and me going through every year, which all boils down to the simple question: should I attend next year?
First and foremost, as an anime and manga fan I have to say that NYCC delivered, and in ways I hadn’t expected to affect me so deeply. This year, they most notably brought Naruto creator Kishimoto Masashi and Uzumaki Naruto voice actress Takeuchi Junko and premiered Boruto: Naruto the Movie for the first time outside of Japan (see my review here). Aside from some hiccups in terms of the Hammerstein Ballroom venue—the overly strict no food policy went so far as to ban bottled water, and the concert-oriented seating obscured the screen for significant portions of the viewers—it was the most memorable part of the convention for me, and it brought me back to 13 years ago when I was at the height of my own Naruto fandom.
On top of that, the announcement of a Tiger & Bunny film helmed by Ron Howard was the biggest surprise by far of NYCC, and the opportunity to get a personal drawing from Attack on Titan animator Asano Kyouji was a rare treat. While I was unable to get Asano to draw Holon from Real Drive like I hoped (to be fair that show is 10 years old), this image of Sasha from Attack on Titan is the coolest thing I brought home from New York Comic Con:
However, my experience with NYCC made me realize just how disconnected I am from a lot of current fandoms. This isn’t to say that I disliked New York Comic Con, or what it does. I’ve always enjoyed the mix that New York Comic Con brought, between the opportunity to meet professional artists, the focus on entertainment media that has extended out from the superhero movie boom, and just the general celebration of nerd culture. However, partly because I was out of the country for four years, and partly because of my own general taste for things, I haven’t been as deep into certain popular works in recent years as I might have been in the past.
What really brought this point home to me was how much I enjoyed the Justice League Reunion panel. Seeing Carl Lumbly talk about bringing his cultural heritage to the role of the Martian Manhunter as an immigrant with a traumatic past, finding out that Justice League Unlimited was a clever and creative compromise with a soulless marketing engine that wished to use the cartoon purely as an action figure commercial, and hearing Kevin Conroy sing “Am I Blue?” flooded me with so many fond memories of what made that series great. It made me recall the character of A.M.A.Z.O. and how incredibly deep and interesting his story was, and the “Ask the Justice League” portion was downright hilarious, especially Martian Manhunter’s greatest enemy being “a villain made of flaming Oreos.” It made me want to find this feeling again within more non-Japanese works.
This is certainly not a criticism of the current state of animation; many fantastic works have been and are still being created. Rather, it has made me aware of just how much a connection to the “nerd mainstream,” as it were, fuels New York Comic Con. NYCC is a for-profit convention backed by the entertainment industry, and it will aim for the works that hit the widest audience, or at least the widest audience within a niche. This is what fuels the decision for a Firefly panel, or indeed inviting a manga megastar like Kishimoto. Rather it fuels my desire to expand my interests further than where they are currently, to get a better sense of the zeitgeist of current American (and non-American!) fandoms.
Exhibitor Hall, Artist Alley, and Panels
Again, when it comes to the actual con, there was much to enjoy. In the Exhibitor Hall, I got the chance
to try Street Fighter V, say, “Domo” to Ninja Slayer, and get that cool Sasha drawing from Asano.
The Artist Alley, as always, was a great place to meet artists, find out about new works, and see the trends that fuel the creators. Superheroes are a no-brainer, anime is less prominent but if it is it’ll be something that captured the imaginations of American fans, such as Dragon Ball Z or Sailor Moon. Stylistically, I made just one purchase at Artist Alley this year, issue 1 of a comic called Henchgirl by Kristen Gudsnuk, the premise of which is exactly what it sounds like. The Artist Alley filled with everything from amateurs to industry veterans, with talent abound. However, I tasked myself with a challenge, which was to find something that spoke to me, that didn’t rely on name recognition, and that wasn’t too tempered by my own preferences for specific types of characters or heroes. Gudsnuk’s drawings resonated with me the most because of the humor and soft, cartoony style. If you’re curious, you can read the comic online for free.
The other highlight of the Artist Alley might have been seeing a small kid, probably no older than 6 or 7, hand a copy of Days of Future Past to Chris Claremont.
As for panels, it’s no secret that a for-profit con like NYCC will have a different flavor from a fan-oriented endeavor such as Otakon. I generally enjoy the latter kind more when it comes to programming, but NYCC has a pretty consistent track record of quality, possibly because it’s such a big deal now and encourages industry hosts to bring their A-Game, as seen with the Justice League Reunion.
The Kishimoto panel was a rare opportunity to get into the mind of one of manga’s most successful creators. While the questions were curated, the host did a great job of opening up Kishimoto, and I’m sure that him no longer having to keep deadlines or worry about how his answers might influence sales of Naruto allowed him to give responses that were a bit more candid than what is usually seen from Japanese guests. Probably the best thing I found out from the panel was the friendly rivalry shared by him and One Piece‘s Oda as Shounen Jump‘s two frontrunners, as well as the titles that influenced him most. That said, I hope the audience that was mostly silent after hearing Kishimoto mention Tezuka Osamu’s Phoenix get the chance to find out more.
“Push Boundaries Forward: Gender, Diversity and Representation in Comic Books,” featuring Marjorie Liu, Darryl Ayo, David Brothers, Amber Garza, Jeremy Whitley, Joey Stern, and Shannon Waters was one of many panels over the weekend that focused on addressing the changing dynamics of comics creators and readers. Both the audience questions and panelist answers showed a strong desire to move forward, to learn, and to understand that greater diversity in comics is a multifaceted challenge that never ends, and is ultimately beneficial to comics as a whole.
The Felicia Day panel was pure Q&A, and that’s exactly what the audience wanted out of it. Incredibly charismatic in that awkward way that appeals to geeks most, Felicia Day genuinely engaged her audience with an attitude that was both deeply caring and kind of flippant, bringing a realness to her answers. The best moment was when she complained that you couldn’t have sex with her character in Dragon Age 2, which her manager had ordered the studio against.
The Sunrise panel showed once again that they’re one of the direct-from-Japan studios to really get what it means to throw a panel. In addition to the surprising news about Tiger & Bunny, their announcements were varied and spoke to different portions of their audience. By the way, if you heard a couple of loud guys cheering for Giant Gorg, that was me and Patz from the Space Opera Satellite Podcast. We were serious, too. Giant Gorg is a rare series directed by the character designer of the original Gundam, and had been in licensing hell for years.
Yo-kai Watch is also a thing.
Finally, I decided to attend a screening of a Love Live! concert, partly to satisfy my curiosity about this particular aspect of Love Live!‘s media mix, and to see the fan reaction. What I got out of it is exactly something I mentioned in my review of The School Idol Movie: the series is extremely malleable by fans, going from a warm, inspiring story full of interesting characters to a mountain of instant memes at the drop of a hat. As people shouted at the character Ayase Eli, “DON’T LET YOUR DREAMS BE DREAMS,” I wondered if that could somehow be parlayed into the slogan of Love Live!: “Make our dreams alive!”
As with most con reports at Ogiue Maniax, I’d like to leave off with some cosplay. Truth be told, I wasn’t digging a lot what I saw, but Sunday really turned it around.
Every so often you may have seen me link to blog posts that I’ve written for Waku Waku +NYC, which is a new Japanese Pop Culture Festival in Brooklyn. Waku Waku +NYC is set for next weekend, August 29th to 30th, and while some of my readers are complete con veterans at this point and others might not have other been to anything of the sort, I encourage everyone to go because it’s going to be a different experience from the typical anime con.
The main things that probably separate Waku Waku +NYC from similar shows is that, in addition to having cool anime guests—like Mega Man and Mighty No. 9‘s Keiji Inafune and veteran anime screenwriter Takao Koyama, who worked on such shows as Saint Seiya, Time Bokan Series, Dragon Ball Z, Slayers, and The Brave Express Might Gaine, —there’s also going to be a huge emphasis on mixing things up. Rather than keeping each all of the various elements of Japanese pop culture in their respective bubbles, Lolita fashion will be encouraged to intermingle with Japanese hip hop and EDM, for example. It’s also going to feature a cool area full of delicious eats called “Savory Square,” which will be serving authentic Japanese food from some of the most notable restaurants in both Japan and NYC. Probably the main attraction is Dotonbori Kukuru, which will be flying in from Osaka to serve the classic Osakan snack, takoyaki.
Waku Waku +NYC will be spread across multiple locations in Greenpoint, Brooklyn. These are the Brooklyn Expo Center, Wythe Hotel, Verboten, Transmitter Park, and Brooklyn Bowl. They’re all within walking distance of each other, but a shuttle will also be available.
I hope you can make it to Waku Waku +NYC. If you come, you might be able to spot me. I’ll be running around the venues conducting interviews.
Ogiue Maniax is returning to Otakon in Baltimore this year to cover the biggest anime convention on the east coast and to have some fun. My schedule isn’t set it stone, so there’s probably not much point in saying where I maybe might sort of be, but there’s one place you’ll definitely be able to find me:
GREAT UGLY MANGA
10:15-11:15am, Panel 3
Some manga are praised for how gorgeous they look, while others are beloved in spite of their drawings, but what about those manga that are made BETTER by the awfulness of their artwork? Join Carl from the Ogiue Maniax blog and Ed Chavez as we look at some of the best and most entertaining ugly manga out there, and see why there’s no irony when we say that these manga are great.
Six years ago, I attended my very first AnimeNext and had a hell of an experience. Six years later I returned to the Somerset, NJ convention, only to find out that it’s the very last AnimeNext before it moves to Atlantic City in 2016. I feel glad that I could see it one last time before the big move!
AnimeNext in 2009 was well-populated, but it’s amazing how much it’s grown since then. Last time I went, I stayed at the Somerset Bridgewater Hotel in order to be close to the convention. This time around, it was part of the convention. As expressed to me by both my friends with whom I traveled and by AnimeNext staff, the convention had simply outgrown its space, necessitating the move to a more spacious location. Thankfully, aside from a terribly hot and humid first day, the weather was surprisingly manageable, which made the outdoor space between the three locations (Bridgewater, Double Tree, Garden State Exhibit Center) a nice reprieve between events.
This year I helped out Waku Waku +NYC, an upcoming New York anime con this August 29-30, which made it so that I couldn’t attend quite as many panels and events as I normally would. However, the ones I did see where all quite interesting. The Penguindrum panel by the Reverse Thieves showed how the train imagery of the series incorporated both classic Japanese children’s literature and traumatic real world events. Land of Obscusion‘s “Greatest Anime We Never Got” told fans to find Sexy Commando, which I’m all for. The FLOW concert was fantastic, and I found myself singing along to the first Eureka Seven opening, even though I swore I didn’t know the lyrics. I even got them to autograph my anime DVD box set, alongside the Satou Dai signature I obtained back in 2009, not long after I attended AnimeNext.
Speaking of autographs, the highlight of the convention had to be Studio Trigger, creators of Inferno Cop, Ninja Slayer, and Kill la Kill. I had heard how fantastic they were as guests last year, and so I had to speak with them. In addition to getting their autographs (Koyama Shigeto’s on Eureka Seven with a little Nirvash Spec3 sketch), most of the rest of the staff’s on Panty & Stocking with Garterbelt, I also joined in on their press conference and attended their 2-hour panel on Saturday evening. One thing that was clear from the press conference and the autograph session was that the people at trigger loved Panty & Stocking and sincerely wish they could make more.
The press conference itself was brief but amazing. At one point, Koyama introduced himself in Japanese as the designer on Inferno Cop, to which the translator “assisted” him by interpreting his line as “designer on Big Hero 6” (which is true). They explained how Inferno Cop actually came out of a commission by Google of all things, which is made all the more surprising by how much money Google is known to have and how little money and effort was placed into Inferno Cop. This isn’t a knock at Trigger, as they themselves mentioned that they set a rule that they could only spend two hours a week on Inferno Cop, which, according to Koyama again is a very original series about a hero of justice with a flaming skull that is 100% original in every original way, really and truly. They also mentioned how their original idea was the story of an ordinary guy in a superhero academy, which they would’ve called Superson, except that it was a “crappy anime,” in their words.
As a final question at the press conference, I asked Studio Trigger about one of their more obscure works, Turning Girls, or more specifically how it came to be. The story of its creation turns out to be one of the greatest tales ever brought forth by humankind.
Turning Girls, which is named so because it’s about girls who are about to turn 30 and have hit a transitional point in their lives, is created and produced by the non-animator female staff of Studo Trigger. Essentially, they wanted to see how people with no experience in animation would make an anime. Though the series did not attract much of an audience abroad, the sponsor who asked them to do it in the first place keeps asking for more, against their expectations. During the Q&A session at their panel, I casually commented that they should produce more Turning Girls as well, to which they responded with “NO” in English. Also, it’s important to note that all of the girls are apparently based on the staff members themselves, and that one of them indeed carries shades of Kaerun, the highly abrasive aspiring idol from Turning Girls.
If there’s one major highlight of the entirety of AnimeNext, however, it has to be the return of Inferno Cop. This wasn’t just any episode of Inferno Cop, though. It was, in fact, an Inferno Cop x Little Witch Academia crossover. Sucy Manbavaran made an appearance in the episode while drawn (and voiced!) in the signature Inferno Cop style. While they showed a number of animated shorts created by the staff, this had to take the cake.
I ran two panels at AnimeNext alongside my friend Alain from the Reverse Thieves. These were “Precure Party” and “Giant Robot Romance: Boy Meets Girl Meets Mecha.” The first covered the history of the immensely successful Precure franchise, which we might rename if we ever bring it back to make sure that people know that Precure is a mahou shoujo series. The second was about giant robot anime that focused heavily on romance and romantic relationships, taking us through a strange path from Toushou Daimos all the way to today.
If you attended either panel, thank you. The turn-out was somewhat small though I suspect that the inconvenience of getting to the Somerset Bridgewater where the panels were both held played a role. I definitely enjoyed running the panels, including the extra time we had to show fun clips for the audience at the end of the robot panel. I feel glad to be able to talk about two of my great loves, magical girls and giant robots, all in the same weekend.
Aside from the location issues, which AnimeNext has been well aware of for years now, my only real complaint was that often the staff and volunteers weren’t much help. This isn’t painting all of the volunteers with the same brush, but on multiple occasions I had asked questions (best way to get to a location, where to line up for FLOW autographs), only to receive the response of “I don’t know.” Sometimes it was “I don’t know, let me check,” only for the volunteer to disappear into the aether never to return. Of course, a volunteer is a non-paid position, and I’m sure many of them were new, but after the 5th time it started to grate on my nerves. We all have to start somewhere, though!
As my friends last year came back from AnimeNext, all I heard about was the gloriousness of the hot dogs at Destination Dogs. Seeing as AnimeNext was leaving the area after this year, it was a must-try place for me. I ordered the Boston (beef frank, baked beans, cole slaw), the Swede-Dreams (bratwurst, mashed potatoes, gravy), and the Charles Dog Gaulle (duck sausage, duck confit, foie gras). It’s tough for me to decide which one I like more, the Swedish dog or the French one, but the redundant duck action and the delicious yet controversial foie gras (which I had for the first time!) makes the latter feel more special. Will there be an adequate replacement for Destination Dogs in Atlantic City, or will we be doomed to always pine after it?
I usually leave cosplay for last in these con reports just so I can segue into a large cosplay image dump, but this time around I think it’s important. For one thing, this is literally the first time I’ve seen Precure cosplay on the East Coast! For a series that is over 11 years old and outperforms things like Sailor Moon, it is a shock that more people don’t know Precure. That’s why we threw the panel.
Other big trends were Kill la Kill, due in no small part to the presence of Studio Trigger, and Love Live! As a fan of the Love Lives, it was a pleasant surprise to see so many μ’s copsplayers around. Quite intelligently, many of them wore summer-centric costumes to fight the heat. The most popular by far was Kotori, followed by Nico. Sadly there was only one Hanayo cosplayer I could find, but I’m grateful that she had the wisdom and unbeatable sense of taste to pick the best one.
So, see you in Atlantic City?
How do you make a convention or event feel big and small at the same time? There’s a combination of intent and circumstances at work, including how it looks, to how easily people can move around, to how interactive both fans and guests are. Some things are simply out of a convention’s control, and even the idea of “massive yet humble” can be a double-edged sword. For better or worse, this is what Special Edition NYC felt like. Set at a warehouse (or something like that) that gave the event an industrial feel that harkened back to the days of comics as less of a mainstream presence, yet still on some level undeniably a different world compared to those times.
Special Edition NYC is an event run by Reed Pop, the people behind the massive New York Comic Con. According to official material, the point of Special Edition is to focus on the comics themselves, rather than the movies, the TV shows, and all of the media and publicity that has come from the comics. Away from the massive signage labeling entities as “DC, Marvel, or other,” (though at this point do they really need it give the iconic nature of their characters), it was interesting to be in an environment where artists didn’t really have to associate themselves too much with one company or identity. After all, many artists or writers do both independent and company work at one point or another, and this allows attendees and creators to be about the people themselves. It’s a nice feeling.
Because I was away in Europe for so long, and because I primarily devote my increasingly scarce free time to manga and anime, I have felt something of a disconnect with American comics. While I can’t ever totally remedy it, I did approach Special Edition both with a desire to learn more and perhaps break some of my lingering preconceptions about American comics while still aware of the fact that superheroes are less an actual dominant force in American comics and more just woven into the fabric of American culture that it’s what people often mentally default to. To that effect, I made two purchases. Battle Bug by Joven Tolentino, Aleksis Shi, Sekou Noel, and Dante Crayon from Hijack Press is a loving send-up of the localization of Kamen Rider Black into Masked Rider. Emily and the Strangers: Breaking the Record by Rob Reger, Mariah Huehner, and Cat Farris from Dark Horse Comics is the sequel to Emily the Strange, and about trying to start a new band with an occult guitar. It has has a cute, vibrant style I really enjoy. I also attended the Image Comics panel run by David Brothers, and I find it amazing that his genuine passion for comics motivates people to find out more. It’s the kind of marketing I want to see more of.
There are two criticisms I have for Special Edition NYC, one more from what friends and other fellow attendees informed me, and one more personal. First, many people went to Special Edition just for the chance to purchase a ticket to this year’s New York Comic Con, and had to line up for hours and hours. While this is on some level inevitable, I heard that the people running the line sold tickets at an awfully slow rate, exacerbating the situation. Second, the ventilation at the venue was significantly less than ideal. Towards the back of the place, I could actually feel myself getting light-headed. At first, I thought it was due to a lack of sleep or perhaps an illness coming on, but as soon as I stepped outside it went away. I really hope they fix that problem, if only because it prevents people from being able to discover more.
I’d definitely like to come back next year, and it’ll be interesting to see if it grows further. I’ve heard that last year the event was sparsely attended, but this year there was a clear and obvious population increase. The spirit to focus on the comics themselves is quite welcome in a world where comics are becoming in a way more about movies than actual sequential art.
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After a five year hiatus due mostly to not be in the United States, I am making my triumphant return to AnimeNext in Somerset, NJ from June 12-14. I also have two panels I’ll be running alongside the Reverse Thieves’ Alain.
Friday 2:15pm -3:15pm BW Panel 6
We’ll be talking about the crazy enormous Precure franchise that’s now 11 years old and even more popular than Sailor Moon ever was in Japan. Whether you’ve never heard of Precure or you’re a die-hard fan, we think you’ll have a great time seeing magical girls punch monsters in the face.
Giant Robot Romance: Boy Meets Girl Meets Mecha
Sunday 11:15-12:15pm BW Panel 6
Love triangles and star-crossed lovers are a common trope of giant robot anime, but this panel focuses on the series where romance is of central importance to the story. See how love has evolved over time in the world of mecha. We’ll be featuring shows such as Macross, Aquarion, and more!
Also, I’ll definitely be at this panel if you want to chat in person
Kill la Kill, Inferno Cop, and [Redacted] with Studio TRIGGER
Saturday 9pm-11pm Panel 1
See you there! I hope we can all sing the Inferno Cop theme together. Also, if you’re cosplaying Fight Club Mako, I’ll give you a high-five.