UlasanAnime.com – The Otakon 2011 convention has concluded, and the author shares their reflections on the event, highlighting key panels, screenings, and personal experiences.
The author begins by stating their usual intention to keep post-convention recaps brief, though it often proves challenging. This year, they aim for a similar approach while detailing their Otakon 2011 experience.
Makoto Shinkai
Makoto Shinkai, the director, is described as a personable and relatable figure. The author recalls Shinkai’s background in video game art and animation before transitioning to independent anime production. A significant realization for the author was the extent to which Shinkai’s films are rooted in his personal life experiences, often at a subtle, “low-level” detail, as seen in “5cm/s.”
Shinkai is characterized as amiable and possessing a youthful, “nerdy” or “bro” sensibility, capable of understanding pop culture references. The author humorously notes that Shinkai even knows about “To Heart.”
While not detailing every Q&A session, the author observes a recurring set of approximately ten questions posed by attendees, to which Shinkai provided consistent answers. Shinkai is noted for his adeptness at navigating nuanced questions and occasionally deflecting them. He also displayed a “kinda-bro” demeanor when discussing industry matters, contrasting with other young animators. Questions regarding “Hoshi o Ou Kodomo” were generally well-received.
The author posed two questions to Shinkai: one at a press panel and another during his public panel. The latter question, a spoiler for “Hoshi o Ou Kodomo,” is deferred for later discussion.
Hoshi o Ou Kodomo: Children Who Chase Lost Voices from Deep Below
“Hoshi o Ou Kodomo” was a premiere the author was particularly eager to see, even foregoing the new FMA film due to not having finished “FMA:B.”
The author acknowledges the varied reviews for “Hoshi o Ou Kodomo” and the pre-convention vibe surrounding the film. A key observation is how the film shares thematic threads with Shinkai’s previous works (“Hoshi no Koe,” “Kumo no Mukou,” and “5cm/s”), a point the author feels was not widely discussed. This shared thematic core is something the author appreciates.
However, the author identifies a narrative flaw in “Hoshi o Ou Kodomo,” similar to “Kumo no Mukou,” where the story’s impetus feels mired. Unlike “Kumo no Mukou,” “Hoshi o Ou Kodomo” reportedly lacks a strong build-up of tension that would have made it more engaging.
The film is seen as engaging in a different manner, primarily through its strong construction as a movie built upon a series of interconnected themes. The author suggests that the abundance of thematic threads might make the film dense and challenging to digest, aligning with Shinkai’s stated intention for the film to be rewatchable.
The “Ghibli-isms” present in the film are deemed warranted and not superficial. The author draws a parallel to the beginning of “Mononoke Hime,” where Ashitaka embarks on a journey to observe and preserve. Similarly, “Hoshi o Ou Kodomo” features a self-searching journey between unlikely companions, with their characters symbolizing philosophical conflicts. Analogies are drawn to “Mononoke Hime” characters (San as teacher, Ashitaka as Asuna, Eboshi as Shin) and even to “Ikamusume” and “Jerid” going on a journey to the center of the Earth.
The characters’ introspective qualities are difficult to externalize, with most only becoming apparent during the film’s climax, except for Asuna. To convey its message, the film relies on action sequences, its Ghibli-esque visuals, and Shinkai’s signature detailed backgrounds. The author finds the depiction of clouds on the ground particularly impressive. While appreciating the visuals, the author expresses a slight disappointment that the underground world’s depiction was somewhat plain, despite its overall aesthetic appeal.
Regarding the film’s overall impact, the author considers “Hoshi o Ou Kodomo” a strong response to the questions posed in “5cm/s.” While visually appealing, it’s not perceived as a film for the general public, particularly those who don’t appreciate “thematic circle-jerking” in blockbuster formats. Themes of separation between life and death and the externalization of loneliness are seen as difficult for children to grasp, requiring a certain level of personal experience. The density of these themes also contributes to the film’s perceived drag and lack of focus.
In essence, the film is recommended for those who enjoy thoughtful cinema but may not satisfy those seeking pure entertainment.
Bandai’s K-ON! Live Event
The author attended a live event featuring the four voice actresses from the US release of “K-ON!” The event, modeled after the Japanese show, was described as fun and largely consisted of MC segments and theatrical elements of a band performance. The actress playing Azusa was noted as a cosplay-musician, though no actual instrument playing was observed, and lip-syncing was not apparent.
A humorous moment occurred when Alexd was spotlighted to sing the ending theme “Kagayake Girls,” which involves rapidly repeating the line “Shiny Shining Shiniest, Girls Be Ambitious Shine Shine Shine.” Vee’s participation with a microphone added to the comedic effect. The author and Alexd were the only ones in the crowd with penlights.
Figure Collecting Panel
Due to other commitments, the author arrived late to the Figure Collecting Panel. The panel consisted of a Q&A session where VManOfMana engaged with the audience, joined by Andy and Super Rats. The panelists were busy with post-panel discussions, leading the author to quickly grab a free figure and depart.
Audio clarity was an issue, as questions were not always repeated to the crowd, making it difficult for many to hear. The Q&A itself was straightforward, with the panelists addressing topics systematically. A disappointment was the lack of physical figures on display during the panel. However, the use of an iPad to quickly display figure images was seen as effective.
The Ladies’ Choice to Hentai Panel
The author attended this panel out of personal acquaintance with the organizer. It was their first time sitting through an entire 18+ panel focused on anime pornography. The author hopes it will be their last.
While the panel itself was entertaining, the author had prior knowledge of the content due to assisting with materials. The specific commentary on the screened clips was unknown. The late hour (12:30 AM on Saturday) contributed to the author’s fatigue, suggesting Friday might have been a better time. The experience of watching pornography in a group setting was familiar from other contexts.
The author’s primary complaint was the tendency to make jokes about real life. A final commenter from the audience effectively raised the point: given that it’s “ero anime,” what is its practical application?
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Atsuhiro Iwakami Producer Panel
Producer Atsuhiro Iwakami is described as having the “right attitude” regarding certain aspects of the industry. Unfortunately, the panel was too short, and attendees asked few pertinent questions befitting a producer, with the exception of Wah’s Shinbo critique and an industry state question. The panel log is available on bayoab.
The Aniplex panel log mentioned that licensing questions would be deferred to Iwakami’s panel, but it’s unclear if this happened. Iwakami explicitly stated he accepts license requests, yet none were made during his panel.
A highlight was the screening of an HD “Fate Zero” trailer, with an explicit confirmation of simulcasting. Iwakami addressed the issue of regional broadcast delays, noting how Osaka received “Madoka” on Thursdays while Tokyo received it later, leading to Western audiences watching fansubs before Tokyo residents. He aims to foster a healthy relationship between content producers and fans.
After approximately six to seven questions, Iwakami polled the audience on which anime they had seen. It was amusing to note that over 80% had seen “Madoka,” and a third had seen “Rakkyo” and “OreImo.”
Giveaways included volumes 1-4 of “Madoka” on Blu-ray, t-shirts, a QB plushie, and a Takeuchi sketch of “Fate Zero” Saber. A companion sketch was donated for auction. The author expresses disappointment that time spent on raffle tickets detracted from potential Q&A time.
A humorous anecdote involving Hisui and Saber as his “waifu” is mentioned, though it’s noted as an experience best witnessed firsthand.
Bandai After Dark
This panel is identified as the proper Bandai industry panel. The preceding Sunrise industry panel, held in the same room, is briefly mentioned with a pointer to Digitalboy’s write-up for clips. Bayoab is also referenced.
Beyond desirable licenses, the author found Bandai’s presentation to be good, though not as exceptional as the previous year. The panel ran long, featuring Hiro Yura performing a track from “Disappearence” and setting up a post-panel sales table. The merchandise offered was appealing, though similar to items obtainable as freebies with purchases.
A personal highlight was obtaining a copy of the “Shackles of Night” single from Hiro after a previous year’s unfulfilled order. The author commends Hiro’s customer service.
Another notable event was Johnny Bosh’s appearance, where he spent considerable time attempting to play Taka’s ukulele, with Vee joining in vocally. This performance consumed a significant portion of the panel’s time.
The author recounts a successful “troll” at the panel when Napton announced a gift certificate hidden under a chair. Attendees eagerly searched, only to find a consumer safety sticker. This was a callback to the previous year’s Bandai After Dark, where similar prize giveaways occurred. Due to time constraints and room clearing, this year’s event could not accommodate such a giveaway.
Miku Live in LA: “MIKUNOPOLIS” Behind the Scenes
This panel primarily covered events from Anime Expo (AX), which would be beneficial for those who missed AX or subsequent Vocaloid events. The author focuses on the notable and interesting aspects.
Clips from Fox News coverage of the event and Toyota commercials featuring Hatsune Miku were shown, eliciting a loud reaction from the audience, particularly the “Anons.”
A slide displayed the cover of the pitch deck for the “Miku Live in USA Tour” plan. The ASCII Media Works EIC emphasized that the original plan was not restricted to LA or AX for Miku appearances, which the author suggests might manage expectations.
Sales figures from the Mikunopolis booth were reported: almost everything sold out except coasters and phone charms, which was not surprising.
An interesting development for Otakon attendees was the introduction of a new line of Vocaloid merchandise, including t-shirts featuring Miku, Len/Ren, Luka, and Kaito. These were priced significantly lower than Cospa shirts and were noted as Crypton-produced, prompting questions about previous Viz license announcements.
At the panel’s conclusion, Fukuoka-san sold Wowaka CDs and a PV DVD, having prepared a well-structured presentation.
Chemistry Concert
Although not the author’s preferred genre, they were pleasantly surprised to find penlights being sold at the Chemistry concert table. These white penlights were described as powerful and having modding potential.
The concert itself was deemed very good, drawing a parallel to AAA a few years prior with significant fanfare but less direct relevance, except Chemistry’s contributions to popular anime soundtracks. The author is familiar with their “FMA” song and “Gundam UC” contribution. The R&B duo performed professionally.
Kylee Concert
The author arrived late, missing approximately 3-4 songs from Kylee’s roughly 40-minute performance. Despite missing most of her known songs, except the “Heroman” theme, the show was still enjoyable. Kylee performed with a live band, though the audience was not very active. She appeared well-groomed, and the author felt an opening act might have been beneficial. The author notes the irony of missing the song “Vacancy” due to their late arrival.
Rave with DJ Saolilith
While unable to attend DJ Saolilith’s panel, the author experienced her set at the convention rave. The rave was held in Hall D, where most musical guests performed (excluding individuals like Hiro Yura). The author arrived just in time for Saolilith’s set, as the queue had surprisingly cleared.
This was the author’s second time attending the Otakon rave, the first being around 1999. The rave room’s atmosphere was improved from the past, with better air conditioning and less of a “funk pit” smell. Despite feeling tired at 11:45 PM on Friday, the energetic environment maintained the author’s spirits.
The author was particularly pleased when “K-ON ED2” was played, followed by Nico kumikyouku tracks and Love.EXE. Recognizing all but three of the spun tracks enhanced the experience.
The first part of the rave involved standing at the back to observe. A breakdancing circle formed, drawing one of the author’s companions. Another companion left due to the environment, while the author and Link moved closer to the stage. Raves, unlike concerts, are less crowded at the front.
During the rave, Saolilith used a water gun on the audience, which the author found unnecessary but did get sprayed. The crowd was relatively sparse, with the author about two bodies away from the stage. For the encore, Saolilith jumped down and performed, but her location in a denser part of the stage prevented the author from seeing clearly.
The author appreciated the freedom to use a penlight at the con dance, a positive aspect of the event.
Eats
Friday and Sunday’s meals were consistent: breakfast at Cafe 100 and dinner at Sliders. Lunch was optionally from Jimmy John’s, which passed the author’s “Otakon test” with flying colors, despite slightly less-than-fresh bread. While good, Potbelly’s was deemed superior, though more expensive and slower. The author had coffee from Dunkin’ Donuts on Sunday to stay awake.
Thursday’s routine involved meals at Pickles and Tir na Nog. Pickles was recommended for its happy hour deals on wings, nachos, and pizza, complemented by pitchers of beer. The author enjoyed Shephard’s Pie again and also had a slice of Sicilian pepperoni pie from an Italian place within the BoA skywalk area.
The author found the cheap beer at Otakon a pleasant surprise, allowing them to attend Bandai After Dark after consuming four drinks, a cost that would be prohibitive in NYC.
Pickles’ fried pickles remained a favorite.
Sliders offered a limited but delicious bar menu. The author had the chili dog set and a Chesapeake chicken wrap, sharing nachos on both days. The chili was noted as particularly good.
Miscellaneous
Wah performed two Omokage Lucky Hole songs; the author missed the first due to a press event but attended the second performance of STRAIGHT JET, which was described as “HORRIBLY done,” though Wah’s performance was commendable.
The “$1 ice cold water” meme was noted as a positive, inflation-free aspect. Conversely, tolls, parking, and fuel costs were seen as negatives.
Baltiport is described as a “total jinx,” and Lance is urged to update the website.
The guidebook app was considered a valuable tool, with a suggestion that all cons adopt it. However, its intuitiveness was questioned, citing difficulties in manually setting alarms, adding to the schedule, and the insufficient one-hour alarm duration for longer events. The app’s ability to cross-reference dealer room locations was praised, surpassing pocket schedulers for that function, although less efficient for quick references.
Directors Panel
The author refers readers to SDS’s write-up on Ogiue Maniax for information on the Directors Panel.
Loot-related
The author spent approximately an hour and a half in the dealer’s room. One-third of this time was dedicated to obtaining Shinkai’s autograph and socializing. Another third was spent purchasing items from Bandai’s booth, Otakon merchandise (Madoka charity poster and con shirt), and browsing Kinokuniya. The remaining third was for purchasing Vocaloid shirts.
CDs were available for purchase at Kylee’s and DJ Saolilith’s autograph sessions. The author bought one from each but did not receive them at the time, providing their address for later delivery. The author speculates if the same company handled missing CDs for Chemistry, but Yura did not have such issues.
The CDs were not inexpensive, but considering the weak dollar against the yen, the prices were deemed acceptable. Similarly, figures sold by AAA distro on Sunday, such as the Gift Saber Lily for $140, were questioned. Bandai sold Lantis CDs with promo posters, one of which the author purchased at a fair price.
Conclusion
The author expresses a desire to attend Otakon again.
