Category Archives: convention

Mahjong Deals and Magical Contracts: Otakon 2012

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Otakon is an event I look forward to every year, and to give you an idea of just how much, I actually plan my time in the US to coincide with it. I went in with the intent of getting some autographs (but not too many as I felt a bit autographed-out from my Anime Expo experience), but ironically I pretty much got everyone but the three I was looking to get the most: Hirano Aya, Nanri Yuuka, and Kakihara Tetsuya. Though a bit disappointed as a result, I realized that this is Otakon and it’s always impossible to accomplish everything you want to do. The scheduling is so jam-packed with events that time is always against you, but then you look back and see all of the fun you had.

This year, as seems to be the case over the past few Otakons, Baltimore was hot. Given that most of it is spent inside an air-conditioned space this isn’t so bad, but there always came a time where people had to brave the heat. Taking Megabus to Baltimore, for example, requires one to walk quite a distance to catch the local city bus. It’s a trek I’m accustomed to at this point, but still one I have to brace for. As for the people in elaborate cosplay, you have my pity to an extent, but seriously you guys must have been dying, especially the full-on fur suit wearers.

Industry Panels

Urobuchi Gen

When it comes to industry guests, my main priority is generally the Q&A sessions followed by autographs, and the reason is that I love to see people pick their brains, especially the creators. I always try to think of a good, solid question or two to ask them, and over time I think I’ve become pretty good at it, because the responses I receive are generally great, though actual credit for the answers of course goes to the guests themselves.

The first industry panel I attended was that of Urobuchi Gen, writer of Fate/Zero and Puella Magi Madoka Magica, two shows which are the new hotness, and by extension make the man himself the new hotness as well. Surprisingly, there was only one question nitpicking continuity, and the rest were about his work, and even some “what if” questions. From it, we learned that Urobuchi is inherently suspicious and so would never sign a magical girl contract, considers Itano Ichirou (of Itano Circus fame) to be his mentor, that he would never pick Gilgamesh as his servant, that the main reason Kajiura Yuki did the music was because of SHAFT Producer Iwakami’s magic, and that working with both UFO Table and Shaft is like being aboard the USS Enterprise and meeting different alien species. In addition, it turns out that Madoka Magica wasn’t influenced by any magical girl series in particular, and the closest lineage it has is with Magical Girl Lyrical Nanoha (atypical magical girl show with striking and violent imagery) and Le Portrait de Petit Cossette (a gothic-style show by Shinbo). Given my recent post about this topic, I have a few words in response to that, but I’ll save it for another post.

As for my question, I asked Urobuchi how he felt about influencing such an enormous industry veteran in Koike Kazuo (who is in the middle of creating his own magical girl series), to which he answered that he considers it something he’s most proud of. Though the two have not talked since that interview, he still follows Koike on Twitter. Later, I would get a Madoka poster signed by him.

Satelight

I also attended the Satelight (Aquarion, Macross Frontier) panel, attended by Tenjin Hidetaka (who technically isn’t a Satelight employee), which was just a fun introduction to their studio. They explored their history, from making the first full-CG television anime (Bit the Cupid), the creation of some of their less-regarded shows (KissDum, Basquash!), and into the modern age. Given the small attendance it actually felt a bit personal, and in this time we had some pretty interesting facts dropped on us. A studio which prefers to do original animation instead of adapations, we learned that they sometimes just like to animate things because they can. Case in point, they showed us Basquash! footage they animated just because they liked the characters and world so much, with no additional TV series planned for it. About director and mecha designer Kawamori Shouji, we learned that he likes to work on 3-5 projects simultaneously despite his somewhat old age (52), that Kawamori is devoted to making anime look good, sometimes at the expense of his budget.

They also showed us some CG-animated clips of concerts by Ranka Lee and Sheryl Nome from Macross Frontier, which were really nice and elaborate. Originally they were meant to be used in commercials for a Macross Frontier pachinko machine, but the 3/11 earthquake prevented the commercial from going on air. Another Satelight anime they showed was the anime AKB0048, which actually looks amazing, and from all reports by even the most cynical of reviewers, actually is. Kawamori even graced us with his recorded presence, giving an interview where he briefly discussed topics such as attending Otakon years ago and making the second season of AKB0048.

Given the flow of conversation, when it came to the Q&A portion there was one question I just had to ask: Why did Kawamori end up directing a show like Anyamaru Detectives Kiruminzoo, a show about girls who turn into animal mascot characters and solve mysteries, an anime seemingly far-removed from his usual mecha and idol work? The Satelight representative’s response was, Kawamori is known for working on anime with transforming robots, and when you think about it, transforming animals are not that different from transforming robots. Hearing this, I actually had to hold back my laughter.

One last thing to mention about the Satelight panel was that the laptop they were using was on battery power, and when it started to run out of steam, rather than finding an AC adapter to plug into a wall, they actually just gave the industry speaker another laptop entirely, also on battery power. An amusing hiccup in an otherwise great panel.

Maruyama Masao

Maruyama Masao is a frequent guest of Otakon. One of the founders of Studio Madhouse, he’s been to Baltimore for many, many Otakons, and it had gotten to the point where I began to feel that I could skip his panels to see other guests. This year was different, though. First, with the unfortunate death of Ishiguro Noboru, the director of Macross and Legend of the Galactic Heroes who had died just this past year, it made me realize that the 70+ Maruyama won’t be around forever. Second, this year Maruyama actually left Madhouse to form a new studio, MAPPA, an unthinkable move for someone in as good a position as he was. The studio was created in order to obtain funding for Kon Satoshi’s final project, The Dream Machine, but in the mean-time it also released its first television anime, Kids on the Slope. Even if Hirano Aya’s autograph session was originally scheduled for that time (it got moved), I felt I had to attend Maruyama’s Q&A. In fact, if you are ever at Otakon, I highly suggest anyone, even people who think they might not be interested in the creative side of anime, to attend one of his panels. His answers are always so rich with detail and history given his 40-year experience that you’re bound to learn something and then thirst for more knowledge.

Some of the highlights include the fact that he’d very much like to make an anime based on Urasawa Naoki’s Pluto but thinks the right format, eight hour-long episodes, would be difficult to fund (the manga itself is eight volumes), that half of the animation budget of Kids on the Slope went to animating the music performances, and that he is looking to try and get funding for Kon’s film in the next five years. I find it personally amazing that he would think of the format best-suited for Pluto first, instead of thinking how the series would fit the typical half-hour TV format. In addition, Maruyama pointed out that a lot of work was done in Kids on the Slope to blend and hide the CG, and I think it shows.

In any case, while I would normally be content to just give a summary of the panel, I’m going to link to a transcript just so that you can read the entire thing. The question I asked is as follows:

How did director Watanabe Shinichirou (director of Cowboy Bebop and Samurai Champloo) become involved with Kids on the Slope?

“I was working with Watanabe from back in the MADHOUSE days. Unfortunately there were about three years where nobody got to see his work — his projects always got stopped at the planning stages. So when I got Kids on the Slope, I handed him the manga and said, ‘here. You’re doing this.’ At MADHOUSE we had developed a feature — it was already scripted and ready to go, but then I left the company and the project fell through, so I gave him this as something to do. I really think he’s one of the top directors in Japan, one of the top 5. That’s why I wanted to create a theatrical animation with him. Up until this project, he’d only worked on original projects, so this was his first adaptation from a manga, and as a result, he didn’t really know how faithful he had to be, or if he had room to adapt, so he put up a lot of resistance at first.

“Mr. Watanabe loves music, and has a lot of deep thoughts on the music. So I told him that it was a jazz anime, and that he was likely the only director that could pull it off. That convinced him. Then Yoko Kanno said, ‘if Watanabe is working on this, I’d like to work on it too,’ and so that’s how that show came to be.”

Also note that in the photo above, Maruyama is wearing a shirt drawn by CLAMP to celebrate his 70th birthday, showing him to be a wise hermit.

Hirano Aya Concert

Partly because of scheduling conflicts, I attended the Hirano Aya concert knowing that it would be my only experience getting to see her. As expected, it was quite a good concert, and I had to get up despite my con fatigue for “God Knows,” but there wasn’t quite this process where I felt won over like I had with LiSA at Anime Expo. Thinking about it, it’s probably because I’m already familiar with Hirano Aya’s work.

I did wonder if her cute outfit was designed to kind of draw some of the controversy away from her, the large bow tie on her head possibly trying to restore her image in the eyes of certain fans. At the same time, given her songs and given her vocal range, I had to wonder if she would benefit from being presented as less of an “idol” and more of a “singer.”

Getting to the concert 15 minutes late on account of 1) the Baltimore Convention Center not being entirely clear as to what can lead to where, and 2) my own forgetfulness from not having done this for a year, I sadly missed the announcement that she would be signing autographs at the end, and ducked out after the encore was over. Alas, I’ll have to wait a while before I get the chance to have my volume of Zettai Karen Children signed.

Other

Apparently Opening ceremonies was ushered in by the Ice Cold Water Guy. Unfortunately I wasn’t there, but I heard it got quite a reaction.

I also attended (the last half of) the Vertical Inc. panel, whose big, big license is Gundam: The Origin. Honestly, I’d never expected to actually see it released in the US, seeing as Gundam is practically seen as poisonous in the States, and I doubly didn’t expect it from Vertical. In addition, though I didn’t attend, some friends went to the Kodansha Comics panel and got me a Genshiken poster! Would you believe that I’ve never owned a Genshiken poster? This one even has Ogiue on it! Granted, I can’t put it up just yet, but it’s basically a copy of the English cover to Volume 10.

Also, while I didn’t attend some of the guest Q&As, I did conduct personal interviews with some of them.

Hidetaka Tenjin

Nonaka Ai

Tetsuya Kakihara

Fan Panels

New Anime for Older Fans

A panel run by the Reverse Thieves, I was happy to see that the room was so packed that people were starting to get turned away at the door. The goal of the panel is exactly in the name: the two panelists pointed out anime that have come out within the past five years that they felt older anime watchers, even the kind who have children of their own, could enjoy. By far the most popular show was The Daily Lives of High School Boys, which just got endless laughs. What I found to be really interesting though is that I could tell the panel was working because I heard more than one baby crying throughout the whole thing. Assuming that the babies did not magically crawl in on there own, I could only assume one or more parent was there with them, also learning about New Anime. I even had a couple of old college friends attending Otakon tell me how much they wanted to watch some of these shows.

Genshiken: The Next Generation

If anyone thought this was my panel, my apologies! It was actually run by my old Ogiue co-panelist, Viga, and offered an introduction for existing fans of Genshiken to its sequel, Genshiken Nidaime aka Genshiken: Second Season. Overall, I thought it was a fine panel, though at points I felt like Viga couldn’t quite decide who the panel should be for, explaining some things while omitting other details entirely. Should it assume that people had read the current chapters or not? If the panel could have a tighter focus with a clearer idea of where it wants to go, I think it would be much better.

Fandom & Criticism

This panel was dedicated to introducing and exploring the concept of “active viewing” to a convention audience, which is to say the idea of distancing oneself from one’s own emotions while watching something in order to more accurately gauge what the work is saying. Hosted by Clarissa from Anime World Order, as well as Evan and Andrew from Ani-Gamers, I took interest in the panel partly because I know the panelists, but also because as an academic myself the concept comes into play with my own studies. The discussion was quite fruitful I think, though one thing I do want to say is that I feel the concept of distancing and dividing between the rational mind and how one’s emotions operate while consuming media can make it difficult to see how other people might view a certain show, and that it is important, I feel, to consider emotions and “passive feelings” while watching a show, as they can shape one’s experience in a way that “active viewing” may tend to break down like a puzzle.

Anime’s Craziest Deaths

It was my second time seeing Daryl Surat’s violence smorgasboard of a panel, and probably what impressed me the most wasn’t any single clip, but the fact that the footage was (as far as I remember) 100% new compared to last year’s Otakon, and that a lot of it came from newer shows. The panel is a treat to watch, and that the craziness of a death doesn’t necessarily have to do with its violence level, but it certainly helps. The panel was a full two hours, so the middle felt like it started to drag, but I think it has to do with the basic idea that people’s attentions will slowly fade over time, so it’s somewhat necessary to up the ante as it goes along. I’ll finish this part by letting Daryl himself offer some sage advice.

The Art of Fanservice

The last fan panel I attended was hosted by the third host of Anime World Order, Gerald, and it was a brief look through the history of fanservice, as well as some of the general differences between fanservice for men and fanservice for women. Defining the art of fanservice as titillation which is not just outright pornography, Gerald’s theory, which seemed confirmed by the audience’s reaction, was that fanservice for guys is typically very visual, very isolated, while women usually require some kind of context. A pair of bare breasts, no matter what situation the woman is in, can be enough for a guy, but a girl usually wants some backstory. Possibly for this reason, the clips of women’s fanservice tended to be a little longer. Also of interest was the Cutie Honey Flash opening, which was a Cutie Honey show targeted towards girls, and though Honey is still leggy and busty, I noted that the way the shots are framed is a far cry from its most immediate predecessor, New Cutie Honey.

I think the idea of “context” does definitely ring true to an extent, but I have to wonder about the degree to which people, especially otaku, defy those gendered conventions. For example, there is definitely “context-less” fanservice in Saki, but there are also moments which are meant to thrill based on the exact circumstances of the characters’ relationships, like when Yumi tries to recruit Stealth Momo for the mahjong club and shouts, “I need you!

Speaking of Saki, why I had a panel to present this year as well.

Mahjong

It was likely thanks to Saki: Episode of Side A that Dave and I got the chance to once again present”Riichi! Mahjong, Anime, and You.” The format was essentially the same as our panel from 2010, where we try to help the attendees learn not so much how to play mahjong (an endeavor which requires hours and hours of workshop time), but how to watch mahjong anime. New to 2012 though were the fact that we had two years of additional playing experience, which meant we knew what we were talking about a bit more, as well as a number of new video clips to thrill the audience, including one that Dave was so excited about he was almost willing to skip the order of presentation just to reveal it).

It was held in a larger room than last time, and though there were still some empty seats, the fact that we were able to mostly fill a room at 10 in the morning on Friday pleased me so.

After the panel, I was waiting on line for the Urobuchi panel, when the people in front of me not only recognized me from the panel, but also let me join in a game of card-based mahjong, where instead of tiles playing cards with the images of tiles are used. From this I learned that mahjong cards don’t work terribly well because it becomes extremely difficult to see your entire hand, but I have to thank those folks anyway for giving me the chance to play, and though the cards are less than ideal, they’re still handy in a pinch, especially because carrying tiles takes so much more effort.

Thanks to Dave’s effort, however, we actually brought tiles with us to play, and on Friday and Saturday, Dave and I managed to find time to sit down and play for a few hours against not only opponents we already knew but also  people we’d never seen before. The tables at the conference weren’t particularly suited for this, and we had to find a table edge and play the game with the mahjong mat angled diagonally. I ended up doing pretty well overall, including an amazing game where I never won or lost a hand and maintained a default score of 25,000, but what really stood out to me is the realization that we had all improved since we started playing mahjong. I know I said it before in discussing the panel part, but playing live against other people made it so that even my mistakes were the mistakes of a more experienced person who could learn from them.

Apparently we weren’t the only ones doing this, as we saw a second mahjong group as well. I couldn’t stay long enough to assess their ability, but as long as they were having fun it’s all good.

Other Photos (mostly cosplay)

Despite a number of good costumes out there, I actually didn’t take too many photos this year. I blame the amount of times I had to hurry to get to the next thing on the schedule. Also, I saw absolutely no Eureka Seven AO cosplay. Promise me for next year!

This was actually the first Fuura Kafuka cosplayer I had ever seen, and I’m amazed (and grateful) that someone would remember her. A funny story came out of this, as the cosplayer had not been aware that Nonaka Ai (Kafuka’s voice actor) was at the event. I told her about the autograph-signing on Sunday, and I hoped she was able to make it. Now, onto the next.

Overall

While at the convention I would notice little things here and there that I thought could use some improvement, the sheer amount of content at Otakon means that with even a few days of post-con recovery the bad mostly recedes away and all that I’m left with is fond memories. One complaint I do have, however, is that because the convention is set up to have some entrances and pathways usable and some off-limits, it is extremely difficult to tell just based on the map given in the con guide how to get from location to location. As an Otakon veteran at this point, I mostly have no issue with it, but even I ran into problems while trying to find the Hirano Aya concert. A combination of better signage to point people to the right locations alongside a clearer map would do wonders.

Even though Otakon had a “cooking” theme this year, I didn’t really feel it, pretty much because I didn’t attend any of those related events. At this point, every Otakon is starting to feel similar, but I can never hold that against it. After all, with a convention this big and with this much to do, I feel that we as fans of anime and manga make of the convention what we want. This isn’t to say that the way the convention is run doesn’t matter, of course, but that it is run smoothly enough that it becomes almost unnoticeable.

Truth be told, I used to take the sheer variety of panel programming and activities at Otakon for granted, but when I attended AX for the first time this year, I realized how limited that event is by comparison. Not only are there a good amount of industry panels with all of the guests they’ve flown over from Japan (or elsewhere), but the fan panels are a nice combination of workshops, introductions, and even philosophical explorations of topics concerning fans. Seeing Otakon once more in person, I knew this was indeed the con I waited for all year.

Otakon 2012 Interview with Nonaka Ai

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Introduction: This is my interview with Japanese voice actor Nonaka Ai, who was a guest at Otakon 2012. Nonaka is known for roles such as Kafuka in Sayonora Zetsubou Sensei and Fuuko in Clannad.

Nonaka: [in English] Pleased to meet you. My name is Ai Nonaka.

OM: You played a character in Saki: Episode of Side A. What did you think of the role, and have you played any mahjong yourself?

Nonaka: [in English] I never played mahjong.

OM: Personally speaking, I know you best as Fuura Kafuka from Sayonora Zetsubou Sensei, but you also play Ichijou in Pani Poni Dash, and those are both interesting, quirky, and even bizarre characters. How is it playing those roles, and how is it working with SHAFT in general?

Nonaka: So, I may act very strange roles, and though they are all quirky and weird, they all have a policy in the way that they act so I want to respect the policy that the character has and do the character to the best of my extent.

OM: Another quirky character is Ibuki Fuuko from Clannad, who you first played in a game and returned to a few years later. Returning to that role, what lessons had you learned in those years between playing the same role again?

Nonaka: I didn’t feel that much of a time lag when the game came out and when I started recording for the anime, so there wasn’t really that time in between.

So the first season of the anime had the same story as the game, but then the second season of the anime was illustrating a world where Fuuko was already gone and the child was already born. So, it was a very strange sort of experience for me, especially in the anime.

OM: I think that when it comes to voice acting, it seems that there are two traits that are sought after. One is having a unique, distinguishable voice, a voice that people can recognize, and the other is having versatility, the ability to play many different roles and change your voice. Which one do you think you’re stronger at, and how important do you think each individual one is in terms of being a voice actor?

Nonaka: I personally think I’m one with a unique voice, and the real strength of having a unique is having people remember you by that really unique voice, so I think I’m really benefitting from that unique voice. Although I have a unique voice, because I can’t change my voice too much I can’t do things like two roles in one anime.

OM: Do you have any favorite actors to work with, or actors you’d like to work with?

Nonaka: Although she’s not a voice actor, Kuze Seika. She used to be part of the Takaraza Kagekidan [Revue].

[in English] Do you know?

OM: I know.

Nonaka: Aahh!!

OM: Putting aside voice questions, what are your hobbies and what do you do when you’re not working?

Nonaka: [in English] I like… run!

So, I’m going to run at the Kobe Marathon after i get back.

OM: How long is it?

Nonaka: Since it’s a full marathon, it will be the full 42.195 kilometers.

OM: Is this your first marathon?

Nonaka: It’s my first full marathon. I’ve done other marathons in the past.

OM: Are you doing any sort of training or diet preparation for the marathon?

Nonaka: [in English] I run three a week.

OM: Three times a week?

Nonaka: [in English] Three TIMES! a week.

OM: Do you change your food? Because I know for instance that a lot of marathon runners will eat a lot of pasta or grains.

Nonaka: Keeping slim is my diet. Lighter is better.

OM: Do you have any favorite foods?

Nonaka: [in English] My favorite food is osushi!

OM: What’s your favorite sushi?

Nonaka: Egg, fatty tuna, and nattou-maki.

OM: Wow!

Nonaka: Have you eaten nattou before?

OM: I actually like nattou a lot.

Nonaka: [in Japanese] REALLY?!

OM: I lived in Japan briefly. Nattou-maki is something I can’t get anywhere else so I miss it a lot.

Nonaka: Ehh?! Wasn’t it a bit odorous?

OM: I realized that I like fermented foods, like nattou and stinky tofu.

Nonaka: [laughs]

OM: One last question. Going back to the role of Kafuka in Zetsubou Sensei, is there anything you really keep in mind while playing the role?

Nonaka: I try to make it positive. A bit off, and maybe crazy-sounding, but positive to that extent.

OM: Thank you very much!

Nonaka: [in English] You’re welcome!

Otakon 2012 Interview with Tenjin Hidetaka

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Introduction: I attended Otakon this year and got the chance to interview mechanical illustrator and designer Tenjin Hidetaka. Responsible for box art from various series including Gundam and Macross, his latest work can be found in Aquarion Evol. His official website can be found at http://www.studio-tenjin.com and his Twitter is @TENJIN_hidetaka.

For the sake of consistency with the rest of this blog, Japanese names are last name first.

OM: How did you get started working in the anime and toy industries?

Tenjin: My very first anime work was Macross Zero from Satelight. I can’t remember what year it was, either 2002 or 2003, but my first anime was Macross Zero.

OM: How is it like working with Kawamori Shouji? How did you meet?

Tenjin: I met Mr. Kawamori Shouji because I had been illustrating for a Macross fansite. I was drinking with a few friends of mine I had met through the fansite and Mr. Kawamori Shouji also attended the event.

But even before I met Mr. Kawamori Shouji I had been working as a professional illustrator, so when I had a chance to meet him I showed him my portfolio, and he gave me the chance to start working with him.

OM: Does the fansite still exist?

Tenjin: The fansite no longer exists. I deleted it right away. But I think some archive of it still exists. Some very hardcore fans from the past still hold onto their precious archives of the past.

OM: I can understand that. So you work both in fantastic designs such as robots as well as more realistic designs such as planes and other vehicles. As an illustrator, do you use the same philosophies and concepts in drawing the realistic vehicles and the more fantastic ones, or are there more significant differences you have to keep in mind while drawing them?

Tenjin: I think about the practical purpose of the vehicle, how it’s used. For instance, with a Gundam it’s a weapon, an instrument of war. So I picture what a tank would be like, and I take the heavy texture of paint and use it for the Gundam. But on the other hand, for something like a Valkyrie, it’s basically a plane so I try to use lighter textures and try to focus on thinner silhouettes.

OM: I actually have a question related to that as well. When it comes to robots, we mainly hear about mechanical designers such as Katoki, Okawara, and Kawamori, who are all about designing the robot from various angles, but we rarely get to hear from someone who’s a mechanical illustrator. What are some of the unique advantages and some of the things you have to consider while drawing mecha without necessarily having “design” in mind?

Tenjin: The difference is, when there’s already a design, I need to think about what the designer had in mind. Even with something as simple as a single line, I have to think about what its purpose is. I need to focus not just on the design in front of me, but other designs that the designer has created because what I am trying to portray through my illustrations is not just the mechanical design or that one item, but the worldview of the designer, the fantastic world that the designer is trying to communicate.

For example, for classic model art for the package or box art, something I focus on is the background. By putting a lot of details in the background, I try to express the storyline of the world behind the design.

OM: You worked on Aquarion as well as its sequel Aquarion Evol. It’s been a few years between those projects. What do you feel you’ve learned between Aquarion and Evol in returning to the franchise?

Tenjin: Something I improved in is weathering texture, introducing weathering to express just how old a vehicle is within the world of Aquarion and Aquarion Evol. But with Aquarion, there are two time periods, the present and 12,000 years ago. I don’t think I was successful in depicting how things would change in 12,000 years.

OM: Related to Aquarion, it seems like 3D modeling is increasingly used to animate mechanical designs, and figures such as Mamoru Oshii have talked about how there are fewer and fewer people who know how to work with 2D designs without going to 3D models. As an illustrator, what do you see as the potential for 3D modeling for mechanical designs in anime?

Tenjin: When I first entered this industry, 3D animation was just at its start. You were seeing the very first examples of 3D animation and, to be honest, the quality was very low. But these days 3D is used very frequently in Japanese animation and very naturally and so the techniques have improved enough that you don’t really notice the differences between 2D and 3D animation. So, I don’t think there’s anything to worry about in that respect.

OM: I just have one more question. I noticed that there quite a few works in that slide show [Tenjin had in front of him an iPad displaying various examples of his box art] from VOTOMS. Do you have a particular fondness for VOTOMS?

Tenjin: [in English, without the need for a translator to explain my words] Of course!

Almelo Anime 2012 Sketches

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As promised in my con report, here are the doodles I did while in the drawing room at Anime 2012. My favorite one is the creepy cult leader hitting on the lady.

Otakon 2012 Impossible Schedule

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Otakon 2012’s right around the corner, and that means frantically trying to figure out which panels and such to attend! Compared to other conventions, Otakon has more panel programming than anything else, so it’s always a matter of having too much desire and not enough time in the day for it. I’ve posted a tentative schedule below for things I’m interested in, but as you might notice a lot of the times conflict, so I’m basically going to be playing it by ear once I get there. I got a ton of autographs at Anime Expo, so I feel less inclined to get them this time around, but I’m going to aim for at least a couple.

Of particular note is the return of the Japanese Mahjong Panel, “Riichi: Japanese Mahjong, Anime, and You,” run by myself and Dave. It’s one of the first things you can do on Friday, so if you’re there that early I highly recommend you come in and check it out!

No fancy badge this year, but I’ll try to label myself accordingly.

See you there!

Friday
Riichi: Japanese Mahjong, Anime, and You, 10am-11am,Panel 4 (I’m on this panel!)
Hidetaka Tenjin Q&A – 11:15am-12:15pm, Panel 1
Gen Urobuchi Q&A  (Panel 3) OR The Chubby Characters of Anime and Manga (Panel 4) – 12:30pm-1:30pm, Panel 4
Opening Ceremonies – 1:45pm-2:45pm, Panel 3
Tetsuya Kakihara Q&A – 3pm-4pm, Panel 1
Gen Urobuchi Autograph – 3:30pm-4:30pm, Autograph 3
Tetsuya Kakihara Autograph – 4:30pm-5:30pm, Autograph 1
New Anime for Older Fans – 5:30pm-6:30pm, Panel 2
Sports Manga: Olympics Edition – 8:30pm-9:30pm, Panel 2
Genshiken: The Next Generation – 10pm-11pm, Panel 2 (Required)
Anime’s Craziest Deaths – 12:30am-1:30am, Panel 3

Saturday
Fandom & Criticism – 9am-10am, Panel 5
Ai Nonaka Q*A – 10:15am-11:15am, Panel 1
Anime and Manga Studies: Three Decades In – 10:30am-11:30am, Panel 6
Yuuka Nanri Q&A – 11am-12pm, Panel 1
Gen Urobuchi Autograph – 12pm-1pm, Autograph 3
Yuuka Nanri Autograph – 1pm-2pm, Autograph 2
Sexism in Anime – 1:45pm-2:45pm, Panel 4
Aya Hirano Q&A – 2pm-3pm, Panel 3
Hidetaka Tenjin Autograph – 2pm-3pm, Autograph 1
Maruyama & MAPPA Q&A – 3:15pm-4:15pm, Panel 4
Gundam Official Panel – 4:30pm-5:30pm, Panel 1
Unusual Manga Genres – 4:45pm-5:45pm, Panel 4
Dead Like Us: Death Lore and Japanese Media – 9pm-10pm, Panel 5
The “Art” of Fanservice – 11:30pm-12:30am, Panel 6
Navigating LGBT/Queer Identities within Japanese Media -1m-2am, Panel 1
Type Moon: Unlimited Panel Works – 1am-2am, Panel 2

Sunday
Ai Nonaka Autograph, 10:30am-11:30am, Autograph 2
Masao Maruyama, 10:30am-11:30am, Autograph 3
Sentai Filmworks Industry panel, 10:45am-11:45am, Panel 1
Kodansha Comics, 11:45am-12:45pm, Panel 5
Vertical 2012, 1pm-2pm, Panel 4

 

Reviving the Mahjong Panel

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Otakon 2012 marks the return of the Japanese Mahjong panel, run by myself and Kawaiikochans creator Dave. It was a surprise hit back in 2010, and we’re so looking forward to bringing it back. What I’m about to talk about is related to some of the challenges we’ve faced in updating the panel.

Mahjong is a rather complicated (some might even say convoluted) game, and when we originally set out to do the mahjong panel we tried to make it as simple as we could while still covering just what makes mahjong (and by extension mahjong anime) fun. Naturally feeling a bit rusty with the material, we devoted some time to practicing the panel only to realize that there was a significant problem we did not have to deal with two years ago: we have both gotten significantly better at mahjong.

Mahjong is a game where subtle changes to the rules and even to the character and level of your opponents can impact the game tremendously. Playing multiple games to improve ladder ranking is a different beast from playing one or two significant games. When I attended the United States Professional Mahjong League in June, I had not played against flesh-and-blood opponents in over a year. Not only did I have to get used to the tiles again, but while I had definitely improved through playing online on Tenhou continuously (a process which forced me to constantly re-evaluate my play), I had become accustomed to that ruleset. So, for example, when I went into a game expecting it to last a full 8 round and began playing for the long term) I was sidelined by the fact that the UPSML games had a (necessary) time limit such that any round you were playing could be your last.

Though I was certainly thrown off by these unfamiliar rules, I was able to adapt reasonably well. It is the ability to recognize how those changes can potentially affect strategy that, at least for me, is an indicator of personal improvement.  However, it is that very same ability which can trip up an introductory mahjong panel.

When we were relatively inexperienced, we could deliver ideas with simplicity because the exceptions did not immediately spring to mind. Now, the danger was that our heads were too full of minutia. We knew where our statements fell short, and in an effort to correct them we continued to give explanations, but much like how the USPML’s time limit necessitates a different strategy, so too does the hour time limit for the panel.

The pursuit and refinement of knowledge in a given topic is actually what trips up so many intellectual presentations, whether the audience consists of professors or anime fans. The presenter has spent so much time exploring the limits of ideas and where their exceptions lie that it becomes difficult to “lie” to your audience, especially when improvement in your area (such as mahjong) is your main focus.

I think that the lesson to take away here is that we were so caught up in trying to teach strategy we’d learned that we had forgotten that before you learn how to play well, you have to teach how to play, period. And because our panel isn’t even about learning how to play, per se, we have to take that one notch down.

Not the X-Games: Anime Expo 2012

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Anime Expo 2012 was my first Anime Expo and my first west coast convention. While I’m not one of those really thorough con veterans, I still found some interesting differences between it and the conventions I’ve been to before, both when compared to the bigger cons as well as the smaller ones. Located in Los Angeles, it uses its position to its fullest.

Industry

In a change of pace of sorts, I  somewhat foolishly attended fewer industry panels than I normally would at a convention. I say somewhat only because of the fact that, for so many of them, they largely amount to announcements (which appear within a minute on Twitter) and they have Q&A sessions which lack teeth. Sometimes you can get a good one, and I try hard to ask good questions when I can, but the more “official” it is, the less chance you’ll get a decent answer. The foolish part is the fact that I was accustomed to Otakon, where one must generally choose between autographs and panels, an only later found out that AX works on a system of giving people “skip the line” tickets for attending guest panels. Lesson learned for (hopefully) next time.

Despite those limitations, AX2012 was by far my most autograph-heavy convention experience I’ve ever had, which is a reflection of one of Anime Expo’s greatest strengths: the sheer amount of guests, particularly Japanese ones. I managed to get stuff signed by the staff from Madhouse, Animetal USA, Kajiura Yuki + FictionJunction, a limited autographed image from manga artist Toume Kei (who wasn’t attending but offered the images as part of a gallery), and probably the biggest one for me: an OVA of Legend of the Galactic Heroes signed by Horikawa Ryo, voice of Reinhard von Lohengramm. I happened to take a fantastic picture of him.

I did manage to go to a few panels as well. I went to the Animetal USA Q&A just to see that bit of spectacle (it was calmer than I had expected), and attended the panel for GoFA, or Gallery of Fantastic Art. GoFA can be described as an organization dedicated to taking anime and manga and giving it a sense of realism by creating products and opening galleries based on those works. The panelists showed off actual products such as glasses and watches based on the designs of anime and manga creators, and mentioned that artists such as Hoshino Lily (Mawaru Penguindrum character designer) and Fukumoto Nobuyuki (Kaiji, Akagi manga creator) have or will have gallery exhibitions in Japan. Apparently they’ve been a part of AX for a long time now, but this was their first time running a panel, a privilege they received because they’re actually producing a stop motion animation based on the artwork of Toume Kei (Sing Yesterday for Me). We got to see a very short preview, about which not much can be said because it lasted less than two minutes.

Another panel of interest was a manga workshop run by an actual manga artist whose name I sadly did not catch (though Peepo Choo’s Felipe Smith was helping to translate). I was unable to stay for the entire thing, but what I saw focused a good deal on anatomy, working from the idea that a solid foundation in realism is needed in order to deviate from it. While I don’t entirely agree with that assessment, I think it is nevertheless an excellent skill to foster and definitely a legitimate way to begin to create art and comics. I do wish that manga workshop panels and the like could move more towards paneling and page layout, but I get the feeling that character design is much more immediate has much more impact for the vast majority of people.

Concerts

I went to all three of the concerts—Animetal USA, FictionJunction, and LiSA—in some capacity, though could only stay for a small portion of the FictionJunction concert due to some scheduling conflicts (more on that later). Animetal USA had by far the smallest crowd, but an enthusiastic one nonetheless, and it was great to hear their take on classic anime songs from shows like Gatchaman, Mazinger Z, and Saint Seiya. I’ll admit, I’m not a fan of heavy metal (though that’s not to say I don’t enjoy it), but I’m glad I went. Later at their signing, the most impressive thing was that there was a real Animetal USA cosplayer, a girl dressed as guitarist “Speed-King” (aka Chris Impellitteri). What little I heard of FictionJunction was definitely excellent. I definitely wish I could’ve seen it all.

The LiSA concert is one of the highlights of AX2012 for me, because I went in only knowing her as the singer of the Fate/Zero opening but not particularly interested, and came out of it as a fan. Not only were all of her songs really good, but her practically-headbanging enthusiasm just filled the concert venue. Impressively, she managed to do the emceeing for her own concert almost entirely in English. I’m not sure how much of it was from actual fluency and how much was practiced and scripted, but she pulled it off regardless. She gave us the benefit of singing the opening to a new summer anime (that wasn’t even out yet), Sword Art Online, and the concert actually made me want to check it out despite only having a passing interest in it prior.

Non-Industry Panels

If AX’s main strength is its industry presence, its main weakness is a lack of interesting fan panels. While fan panels can always vary in quality, they tend to follow along the same basic goals of bringing fans together in order to share in a topic or to convey new ways of seeing the things we love, hat’s not to say that the fan panels at AX weren’t or couldn’t be interesting, but that the sheer amount of “official” panels somewhat limited the overall presence of fan panels. On top of that, many were workshops or something similar, but personally speaking I generally don’t go to conventions for workshops.

I attended the Bloggers and Podcasters Town Hall, not knowing quite what to expect, especially given the use of the term “Town Hall,” but it ended up actually being fairly accurate. Moderated by the Benjamin “Benu” Lopez of the long-running Anime Genesis podcast, the audience (including myself) discussed various topics, including the move to include blogging into a podcast and vice versa, as well as ways to break up the factionalism and cliques which often appear around groups of bloggers/podcasters. It was a fruitful discussion, and I got to meet a number of people I’d only read/heard previously, though I do kind of wish that we didn’t just talk about reaching out but also ways to refine and improve our existing work. As I said at the panel, I do believe that content is king.

Given that I’ve been a part of academia for a while now, I went with the purpose of attending as many of the academic panels as I could. At times, this caused conflict as I had to sacrifice seeing a certain guest in order to see what other researchers were working on, but I think it was well worth it. Even though other events clearly overshadowed the attendance of the academic track, there was something distinctly different about having it as part of a general convention instead of simply being a stand-alone academic conference. Mainly, I felt like presenters had prepared for a mix of academic and non-academic audiences, and it made the presentations a little more fun than what would normally happen.

The highlights of the academic track were the keynote address, where Professor Jeffrey Dym of UC Sacramento discussed his “History of Manga” class, and the “We Make Manga” panel run by Northrop Davis of the University of South Carolina. In both cases, the speakers really knew what they were talking about, and described the challenges they faced in creating their classes, how they designed their curricula, and what sources they used as the foundations for their classes. For Dym’s panel, the things that stood out to me the most were his lament that Ishinomori Shoutarou did not have more work out in English despite his legendary status and the fact that he hesitated on including sports manga in his class because of how little of the really groundbreaking series (Star of the Giants for instance) exist in English. For Davis’s panel, it was definitely the fact that he mentioned his class as being designed to somewhat mimic the editor system used by manga publishers in Japan, especially given the degree to which endeavors such as Tokyopop’s old OEL material lacked in that very area.

I think the attendance could have been stronger if the academic panels hadn’t been added so late. The large color guide didn’t even have those panels, and it was clear that despite the giant screens showing the updated schedules that many attendees ignored it. When I presented at my own panel (which ended up overlapping with the FictionJunction concert due to a 40 minute delay, thus eliminating my chance of doing both), it was to a rather sparsely populated room, which I honestly think could have been made more lively if only people knew about it (and if the concert didn’t start and end when it did). Overall, I think I did an all right job (I did a visual analysis of the manga 7 Billion Needles), I just wish more of you could’ve attended it!

Cosplay

I think I’ll say it: AX2012 was possibly the best convention I’ve ever attended in terms of cosplay. Not only were many of the costumes excellent, but I don’t think I’ve ever seen so much variety. Popular cosplay topics such as Homestuck and Hetalia!, while still very present, didn’t even come close to dominating the visual landscape of the con, and cosplays I had resigned myself to possibly never seeing appeared in numbers. Whereas previously I had seen zero Dragon Kid cosplays from Tiger & Bunny, this time I saw five.

I remember being the only person to clap for Dragon Kid at Otakon 2011’s Sunrise panel, so this was a pleasant change.

In addition, I thought I’d never see a Precure cosplay at an American con, but I was gladly proven wrong. Have you watched Heartcatch yet? It’s really good.

Anyway, I’ll let the rest of the cosplay speak for itself, though keep in mind that this certainly isn’t an accurate representation of all of the cosplay at AX2012, merely what I photographed.

Final Thoughts

So there went my first Anime Expo. If I had to do it over again, I probably would’ve found a better medium between panels and autographs, and I would’ve definitely tried to see more faces. Also, the Kinokuniya in LA is definitely better than the one in NYC.

Ogiue Maniax’s First Trip to Anime Expo!

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Though not my first time in Los Angeles, it’ll be my first time hitting up Anime Expo, that monster convention whose size and majesty dwarfs all around it. In fact, it’s also my very first west coast convention, so while I know what to expect from a big convention, I don’t know if there’s anything particular this con in particular that I should be aware of.

In any case, I’ll be attending most if not all of the academic panels, and trying to go to the concerts if I can. I’ll also have my own presentation to give while I’m there on Saturday, as part of the Building Bridges Through Individual Texts panel. My presentation is titled going to be focused on the science fiction manga 7 Billion Needles.

My (tentative) schedule is as follows:

Friday

The Cutting Edge of Anime and Manga Studies (11am-12:15pm)

Why Do We Try So Hard? Anime and Manga Studies Roundtable Discussion (12:15pm-1:15pm)

The Origin of Anime Fandom (2pm-3pm)

Aniplex of America Industry Panel (3pm-3:45pm)

Animetal USA (WHO IS IT WHO IS IT WHO IS IT) (4:30pm-6:15pm)

Adventures in Teaching: “The History of Manga” (7:15pm-8:15pm)

Bushiroad Industry Panel (8:15pm-9:15pm)

Saturday

E-Manga: The New Style of Manga with Ryo Horikawa (11am-12pm)

Animetal USA panel (12:15pm-1:30pm)

Madoka Magica panel hosted by Aniplex (3pm-4pm)

Anime Bloggers/Podcasters Town Hall (4pm-5pm)

Yuki Kajiura/FictionJunction (6pm-8pm)

Building Bridges Through Individual Texts (8:30pm-10pm) (That’s me!)

Sunday

My Little Pony: Friendship is Magic Fan Panel (9am-10am)

Hamada, Morio, Tsunoki (Madhouse) (10am-11am)

LiSA Concert (12:15pm-2:45pm)

Right Stuf/Nozomi Entertainment Premieres (3:15pm-4:45pm)

What do Anime Fans do, Why and How? (5:15pm-6:45pm)

Supporting and Expanding Anime and Manga Studies (7pm-8pm)

Monday

Who knows!

So there you have it. For all you cool dudes I know, I hope to see you, and if I don’t know you, then I hope to at least meet you.

Blaaaazin’: Anime 2012

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This past weekend was my second time attending the unambiguously named “Anime Con” over in Almelo, the Netherlands, only unlike last year I managed to go for more than one day. Truth be told, I had originally planned on skipping out this year for various reasons, but when I saw the guest list it seemed like a must. Not only was anime and manga scholar with a particular fondness for Tezuka Helen McCarthy attending, but there was Initial D opening/ending band m.o.v.e. as well. Another prominent guest was Dutch comics artist Martin Lodewijk, but I was not able to see him because he was only able to attend on Friday (which I skipped out on).

Located near the German border, the train ride to Almelo for me altogether took about two and a half hours, something I felt I should have remembered from the last time I did it, but somehow seemed strangely new. I was unable to procure a hotel at or near the venue, but taking the train back and forth ended up costing less money (and even less than a similar trip by Amtrak back in the US), and it gave me a lot of time back and forth to read manga and even to draw, which I hadn’t done in a long time. So, even aside from the actual convention itself, fun was had. Also quite fortunate was that the weather in Almelo was excellent, and if I hadn’t had to pass through wind and rain to get there I would’ve thought it to have been a waste to wear a jacket.

Before I get into the con itself, I do want to note that there are some interesting parts of the event which didn’t change too much from last year like the game room and the maid cafe, so I’ll refer you again to last year’s report.

Panels

Now I am the type of con-goer who loves to attend panels, and it was very clear to me that Anime Con this year had made a concerted effort to insert more panels into its programming. There were humorous panels, quiz shows, and a number of informative ones, including a Vocaloid panel. Not being terribly interested in Vocaloid myself normally, I walked in on it half an hour after it had begun in order to be around for the next panel, only to realize that in my ignorance I had missed out on what may have been the best Vocaloid panel ever.

Normally, Vocaloid panels seem to be more celebrations of Hatsune Miku and friends, but this panel was actually run by motsu, the rapper from m.o.v.e. Known for such sage wisdom as “I got no impression/ This town made by the imitation/ Wanting your sensation/ In this silly simulation/ I wanna rage my dream,” from the little I caught of it, the whole hour was a little bit of history about Vocaloid and a lot about how it works as a music-making program and its limitations, like how Vocaloids are bad at that double-consonant often found in Japanese, the “kk” in Tekkaman for instance. The band has somewhat close ties to the program, as not only was his fellow bandmate yuri was made into the celebrity Vocaloid “Lily,” but the guy as an active musician uses the program himself, even posting on Nico Nico Douga under the name “Nicormy.”

We learned that motsu likes to use the Gackt-based Vocaloid “Gackpoid,” and that there was originally some trouble with Vocaloid Lily because of yuri’s relatively deeper voice and how the program is better-suited for high-pitched tones a la Hatsune Miku. He also gave some tips for working around the program’s limits, like using the hi-hat (the cymbal?) from a drum machine in order to simulate a “ssst” sound, another weakpoint for Vocaloids, or using a “bend down” to improve the sound of Vocaloid rapping. Even though I don’t know music and had to look up some of these terms after, I really regret not being in there earlier.

Right after the Vocaloid panel was Helen McCarthy’s talk on “kawaii” and its origins, tracing it back more generally to a biological human tendency to want to protect doe-eyed creatures be they babies or kittens, as well as more directly how the styles we associate with Japanese cuteness were the result of an intermingling between Japanese and Western cultures. For instance, Helen pointed towards Betty Boop as an influence on kawaii, a mix of cute and sexy and facial proportions which resemble a traditional idea of attractveness in Japan, and talked about the French artist Peynet, whose romantic drawings of Parisian life still persist today.

Of particular note for me was her brief discussion of the artist Macoto Takahashi, whose “Makoto Eyes” (see above) would clearly become an influence on 60s and 70s shoujo manga. In fact, I had to ask Helen about the clear lineage into shoujo, and what might have caused a decline in those types of sparkling eyes, to which she replied that it likely has to do with how the painstaking detail of Makoto Eyes, which can take hours to draw precisely, conflicts with the hectic work schedule of a manga artist.

The last panel I attended was “The Future of Comics is Manga.” Held on the last day of the convention, it drew what I felt was a surprisingly large crowd based on my experience with American conventions, and I have to wonder if there are actually proportionately more anime con attendees interested in industry and creator discussions compared in Dutch conventions. On the panel were Helen McCarthy, Japanese manga and video game pixel artist curently living in the Netherlands Aoki Noriko, writer for the Dutch anime magazine Aniway Rik Spanjers, and Dutch comics writer Sytse Algera. The discussion went to various places, from how it’s faulty to say that comics never appealed to adults around the world and that it’s more an issue of the comics industry not being able to hold onto those readers to the comparatively low salary that most manga artists make, which has to be tempered by an actual passion and enthusiasm for creating comics.

Somewhat unfortunately, the Q&A session turned into primarily a discussion of piracy and copyright, from downloads to doujinshi to everything in between. While I felt that it was in certain ways a fruitful discussion, and everyone agreed that creators cooperating with fans had definite benefits, it also pushed aside all other potential questions. Moreover, a lot of the discussion had to do with artists feeling that they’re being slighted by downloads, and I feel that when you have a panel comprised of mostly artists and creators it skews the discussion in a certain direction, just as a panel of mostly editors might, or a panel of mostly fanfiction writers. All in all, though, it was quite informative.

The Concert

While I’m aware of the fact that m.o.v.e. has performed at at least one anime convention in the US, given my current living situation and the sheer size of the United States it was actually easier for me to go to Anime 2012 to see them than if I were still back in the US and they had visited another state.

Last year I had attended a portion of the Aural Vampire concert, but had to leave early. This year I decided to stay for the full thing, which almost didn’t happen because the concert started 45 minutes late. In spite of not getting home until 1am as a result, it was still really great, with m.o.v.e. playing up the crowd and throwing in their Initial D songs alongside some of their non-anime-related work.

I am no regular concert attendee, so I can’t say if this is anything truly special or not, but I was pretty amazed that the singer yuri actually sounds better live than she does in official recordings. I don’t have the proper musical vocabulary to describe what I mean, but she actually comes off as more powerful on-stage than in music videos. motsu meanwhile rapped up a storm, and in some ways it’s even more special to hear live than yuri’s strong vocals.

There were also some technical difficulties with the microphones during the concert, but m.o.v.e. handled it very well with the help of a supportive crowd. When mics would stop working, the two would share one, and at one point the DJ Remo-con (who also deserves respect) passed over his personal headset to motsu so he could continue.

As might be expected, motsu actually has excellent English (he was even occasionally switching to English in the vocaloid panel prior), and was definitely not working from a script when talking to the audience. My favorite moment was probably when motsu asked if we wanted “A CAT FIGHT” or “ANOTHER KIND OF FIGHT.” Remo-con responded with a cat paw gesture. At another point, motsu also asked what kind of beat we want, giving “flamin'” as one option. Naturally, there was only one choice.

Artist’s Alley

Unlike many of the Dutch cons I’ve attended the artist’s alley this time around was somewhat separate from the dealer’s room. I’ve spoken about this many times before, but I’m still interested in the fact that most of the artists in the alley seem to prioritize making full books, either by themselves or in collaboration with others, as opposed to buttons and other trinkets (though those were still around). I have to wonder if it has anything to do with the Netherlands’ own strong tradition when it comes to publishing (it was known for having very good freedom of publishing centuries back), though that connection may be too tenuous.

An interesting element of this convention’s artist’s alley was that there was this peculiar collectible card game available, where you actually buy cards based on the amount of things you buy in the artist’s alley, which you could use to create an actual deck. I didn’t buy too much from the alley, so I couldn’t experience the game firsthand, but it was apparently the idea of the people running the Manga Kissa (manga cafe) at this convention and many others, and who actually currently have a permanent location in Utrecht.

I also got a chance to talk Aoki Noriko, the Dutch-resident Japanese artist, who is also apparently a huge fan of Saint Seiya given her personal portfolio. As we talked, she mentioned some of the difficulty going from traditional media to digital, which is a topic I’m always interested in. In the end, I bought the comic above and left with a thank you, though looking back I regret not asking her more about her work in video games, as she did sprite graphics in the 8-bit and 16-bit era.

Speaking of art, ever since Nishicon 2011 I’ve been really enjoying the idea of a drawing room at conventions, a place which provides free paper and drawing tools so that people can go nuts. Like at Nishicon, the room was run by “Mangaschool,” the group which also ran various drawing tutorials and workshops throughout the convention. I feel like sometimes the best thing to do to get away from the hustle of a con while still being a part of it is to just sit down and draw, to let the mind wander through the hand. Also robots are cool.

I don’t have a proper scanner on me at the moment so while I’d like to share the drawings I made at the convention, I’m going to save it for a separate post in about a month. Look forward to it!

Storyboards

Also on display at the convention were various anime design work and storyboard pages from a wide variety of shows. I’ve included some below for your enjoyment:


Sakura contemplates revenge

Cosplay

 

Sadly she was not singing the Panty & Stocking opening

Overall

While I may not be the best judge of the long-term progress of “Anime Con,” I noticed many improvements compared to last year, especially in terms of varying the kinds of things that are available to do. Theaterhotel Almelo may only be able to hold 3000 people, but I certainly felt their energy as fans.

Preparing for Anime Con NL 2012

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I’m going to be heading to the Dutch con known simply as  “Anime Con” next weekend (May 18-20). Located in the city of Almelo near the German border, I attended for the first time last year, though this time I’ll be attending for more than one day.

Of particular interest at this convention is their musical guest, m.o.v.e., known for their Initial D themes, manga scholar Helen McCarthy, and the famous (actually I believe most famous) Dutch comics artist, Martin Lodewijk.

If you’re in the area but haven’t decided to attend yet, do note that the hotel rooms are all booked, but that you can still get a discount if you register by the 17th.