UlasanAnime.com – The author begins by acknowledging a hiatus in blog activity, attributing it to a new IDOLM@STER game capturing their interest. However, they emphasize that ideas are still being generated and need an outlet, making the holiday season an opportune time for reflection and recaps.
Reflecting on 2023, the author had anticipated a resurgence of conventions in the USA in 2024, following the COVID-19 pandemic. While the State Department has made efforts to expedite visa processing, challenges persist. The current political climate in the US suggests that difficulties with visa processing might continue in the coming years. Despite these hurdles, several major conventions did take place in 2024, including Anime Expo (AX) and Animazement. However, others, such as Anime NYC and Anime Weekend Atlanta (AWA), did not fare as well. Some conventions, like Anime Central (Acen) and Sakura-Con, appeared to have more modest advancements, while others like Kawaiikon, Southernmost Japan (SoJ) Miami, and Holmat offered unique experiences.
Beyond the large-scale conventions, numerous Japanese-related events and performances occurred independently. These included One Piece concerts and an anime orchestra event that the author did not attend. The tours by artists Ado and Yoasobi were highlighted as significant events, comparable in impact to the conventions. The author also mentioned not securing tickets for Fujii Kaze’s performance, though it was reportedly excellent. Additionally, Nier concerts and Joe Hisaishi’s return to Madison Square Garden in NYC were noted, all contributing to a growing landscape of anime-themed entertainment building upon existing offerings.
The author expresses a sentiment that anime conventions in the US did not fully rebound as anticipated post-COVID. A significant factor contributing to this is the fundamental impact of the pandemic on anime events, which in many ways have not yet recovered. Conventions in Texas, particularly AnimeFest and A-Kon, faced significant setbacks and ultimately closed. In contrast, Canadian conventions demonstrated considerable success, with Edmonton and Vancouver being particularly strong. Ottawa and Montreal also performed reasonably well, while Toronto experienced a peculiar void, likely due to organizational challenges in recovering from the pandemic’s effects.
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The combined pressures of inflation and the resurgence of overall tourism to pre-COVID levels also influenced travel decisions. Japan experienced a significant influx of tourists, leading to “over-tourism” in popular destinations like those near Mount Fuji and the picturesque streets of Kyoto, as well as other locations. The author understands the local desire to manage this through new laws and regulations, but acknowledges that the hospitality industries and everyone else are still adapting to this new reality. It is uncertain whether 2025 will see an improvement, especially with the continued weakening of the Japanese Yen against other currencies.
This economic situation makes traveling to Japan less appealing for the author. However, Bandai Namco appears to have other plans. The author will not be attending the final Aqours solo show in June due to prior commitments in the first half of 2025. They have already had to forgo the Kanno NYC show at the end of March to attend Hotchpotch. Furthermore, there are already two weekends in the summer that the author wishes to attend events, not including the annual Anisama festival.
Speaking of summer, the summer of 2024 was described as “brutal,” and the author anticipates a similar pattern for 2025. The author undertook nearly continuous weekend travel for about seven weeks in 2024, or thirteen out of fifteen weeks if a two-week gap is included, even accounting for some family and vacation trips. For 2025, starting from Acen, the author expects another series of back-to-back weekend travels, depending on plans for June. July will feature Anime Expo (AX), for which booking should commence soon. The period from July to August will include the typical summer convention circuit, plus two weekends dedicated to IDOLM@STER events. The author is considering skipping Anisama this year but will defer that decision until March.
In conclusion, much like 2024, the author approaches 2025 with a mixture of weariness and tempered excitement. They suggest that if Japan wishes to generate genuine enthusiasm, they could offer more than just the “Phantom Siita” event. The author believes that the situation in the US is what truly tempers expectations and reveals the stark realities of the domestic scene. Nevertheless, they express gratitude for artists like Ado who are willing to participate and “stir the pot.”
The author extends holiday wishes and expresses hope for more frequent writing in 2025, while also noting a backlog of anime to catch up on.
