UlasanAnime.com – As the sun sets on Anime Expo 2012, the author reflects on the final day and the overall experience, sharing a mix of personal reflections and observations about the convention.
Upon returning home, the feeling is akin to marking all unread messages as read – a sense of completion and a slight overwhelm. Despite having internet access for parts of the stay at the JW Marriott, much of the online work was done via phone, making detailed summaries difficult, though reviewing tweets proved easy.
The author views this year’s AX as having two distinct sides, but ultimately, the overwhelming sentiment is one of immense fun. While not everything went perfectly, the downsides are accepted, with the author taking personal responsibility for any shortcomings.
Several personal points of reflection are highlighted:
- The loss of the Fractale Blu-rays, specifically the Nendoroid Petit that came with the purchase of Yamakan’s house-selling bet at AX. The author remembers bringing it back to the hotel but it went missing on Day 4 during packing. While not overly concerned about the Nendoroid itself, the potential waste of $60 is a point of regret.
- Mistakes made with autographed goods, stemming from insufficient planning. While getting Kondo and Aoki to sign the Rakkyo box and Kajiura’s autograph on the same box were correct decisions, the author wonders about bringing other items like the Mai-Hime OST2. A minor blunder was not bringing the Nadesico Blu-ray box for Sato, though this was mitigated by getting him to doodle instead.
- Spending too much time in autograph sessions, which the author feels was not the most effective use of time. The desire to attend more academic panels from SDS or Alex L. is expressed. Despite this, attending at least one Vocaloid panel was a positive, and the improved scheduling for programs this year is commended. The author notes that press handling, with guest panels crammed into Day 1, did not help with scheduling flexibility.
The “two sides” of AX are further elaborated. One aspect is exemplified by Akira’s humorous experience with Bamboo, Tami, and The Mangagamers crew, which the author can largely corroborate. 
The other side is more focused on the press and public relations aspect. The author engaged more in press activities this year and enjoyed interactions with various individuals and companies, particularly wishing for more time to speak with the Viki team, whose work falls within the author’s areas of expertise.
The press panels themselves are described as straightforward but not necessarily effective in attracting press. The author points out that Friday was overly packed, and ideally, more time could be spent at nearby venues like the Westin to attend guest panels like those of Sato and FictionJunction. The inability to clone oneself is lamented. Thursday was better, but the guest lineup, apart from FictionJunction, wasn’t a massive draw for the press. The author notes that stacking guests in this manner makes it difficult for press to attend all relevant panels, resulting in sparse attendance.
However, the author acknowledges that the guests were indeed a significant draw, particularly during the Charity Auction. Despite efforts to avoid high rollers, the author spent hours at the auction and even made a purchase, which helped offset the desire for more donations to 3/11 relief organizations.
Items related to Kajiura goods consistently fetched high prices, with a minimum of $200 and some reaching as high as $800, highlighting the “AX=HIGH ROLLAZ” atmosphere.
A full-color shikishi-sized drawing of Chihaya by character designer Hamada sold for $2000. In contrast, Morio Asaka’s single-color sketch of young Taichi only went for $850. While $850 is a respectable price, the author considers it on the lower end given the drawing’s artistic merit, vibrancy, and expressiveness. The lack of appreciation for such artistic quality, especially from the director of the series, is noted with a sigh.
GoFA contributed several Range Murata sketches and a poster from Shangrila with a sketch, the latter fetching $1400. Kei Toume’s single-print mats ranged from $125 to $300, reinforcing that Range Murata’s items are popular at AX.
Some items sold under the radar, such as the all-cast autographed Chihayafuru poster for about $300. The script book, considered more “authentic” due to visible use and also bearing the full cast autograph, sold for only about $175. The auctioneer apparently did not specifically highlight its autographed status, and the author humorously notes learning how Kayanon signs her items.
LiSA donated clothing items, including two skirts and a hairpin. The second skirt sold for $100 less than the first, attributed to the presence of only two “creepy otaku with money” at the time. A fourth potential bidder had to work, and the author muses about bidding by proxy through a fifth individual, but the auction moved too quickly.
Ryo Horikawa also donated items like sunglasses and a hat. The sunglasses are considered a cool item (“Hey I have Vegeta’s sunglasses”), and both items sold for a decent sum.
Beyond observing the high-stakes auction, the author attended several panels, including those for Madhouse, Sato, Aoki/Kondo. Notably, panels for LiSA and FictionJunction were missed. The author expresses a wish to have attended Koyama’s panel instead of Madhouse’s and Production IG’s panel to discuss the ending of Mouretsu Pirates, finding the ending fun and satisfying but somewhat flat and lacking a twist compared to Nadesico.
A question about Rinne no Lagrange was not asked, leading to a regret about not attending the day-1 press panels, even if attendance was uncertain.
Curiously, the author attended a Cardfight Vanguard panel. An anime-oriented panel featuring Aimi and Izumi Kitta was missed, with the author barely seeing them at the con. The Vanguard panel, featuring illustrators Midori Foo and Yosuke Adachi, provided insights into the game’s mechanics, described as easy to play and collect, but potentially expensive. A question about “Dr. K is not Dr. O?” is posed.
Mangagamer’s panel was enjoyable and brief. Tamiyasu is described as friendly and interesting, with details available in Akira’s report. Giveaways were standard, and the “Boob Wars” mention is noted with surprise.
Contrary to expectations, some creator-focused panels were well-attended. Madhouse’s Sunday AM panel was about 75% full, and the Fate/Zero directors’ panel later that day was standing room only, despite being in a smaller room. Mirai no Neiro had a good turnout for its producers’ panel. The author believes FictionJunction and LiSA also had strong showings, and Steve Blum’s presence was not a primary concern.
The Fate/Zero directors’ panel was particularly fun, with audience heckling and jokes about Fate/stay night. Kondo’s presence led to limited discussion, though the directors mentioned looking into certain aspects. A question to Aoki about the Hourou Musuko OP revealed that the absence of people in the OP was a deliberate choice to match the music, making it less cheerful than a school setting would imply. The final shot of flying flower petals symbolizes the two main characters.
The X-Games had a subtle but noticeable impact on AX. The absence of the Nokia Theater affected the FictionJunction concert, as well as those of LiSA and Animetal USA. Navigating between the JW Marriott and the convention center involved traversing underground parking facilities, a route described as anything but straight. While this likely presented logistical challenges behind the scenes, the impact on attendees was deemed minimal.
Attendees generally mingled well. Many X-Games visitors were sightseers who posed with cosplayers for photos. The presence of children was also noted, and costumes suitable for outdoor events were generally acceptable. An obligatory ESPN article on the coexistence of Anime Expo and X-Games is mentioned, with a humorous question about whether any footage made it to ESPN.
The Vocaloid events were well-received, with three panels and possibly more. The first and third panels featured hologram shows, which the author did not attend. The author was present at the producers’ panel, finding the producers, especially Ago-anikiP, amusing. DeadballP is described as professional, and Dixie Flatline’s story as touching and ironic. Kyousuke and odP formed an interesting duo, and the first speaker, whose name is forgotten, delivered a nice speech.
After the panel, the producers stayed to sign autographs and chat. DeadballP sold CDs, and the author purchased one and obtained a couple of autographs.
Loot was abundant. The trade-off for spending too much time in autograph lines was acquiring a collection of signatures. While the “grand prize” autograph from Koyama’s calligraphic show was missed, autographs from most desired guests, excluding Aimi and Kuribayashi, were obtained. Sketches from Asaka and Hamada were particularly appreciated, and the author hopes Madhouse continues to send guests for promotion. The author questions the decision to get a sketch of Tomoyo Daidouji and Shinobu Wakamiya, contemplating obtaining the “fat version” of Shinobu instead.
A larger view of the autographs reveals Aoki adding an SD Saber to his sketches and Kondo drawing a distinctive Shiki face. Madhouse producer Tsunoki initially drew Kaiji in a similar style but later opted for a dog face. The author also purchased merchandise, including some “useless trinkets” from NISA, but found the Anohana and Occult Academy items worthwhile, exclaiming “Anime no Chikara yooooo.”
The food trucks were a highlight this year, with the author managing to visit them daily. The Japanese curry truck on Day 1 is praised for its excellent quality and value, featuring delicious kara-age and a croquette. The takoyaki cart on Day 2 offered good taste and variety despite a long wait and gooey texture. An Italian truck on Day 3 served a well-prepared grilled cheese sandwich with ham and tomatoes after a 30+ minute wait. On Day 4, the “Slap yo mama” truck’s shrimp po-boy was flavorful, but the hush puppies were even better. The author still believes NYC surpasses LA in this regard and wishes Kogi had shorter lines.
For the first time, five people from the group visited In-n-out.
Shoutouts are extended to various individuals and groups from the west coast and beyond, including MG peoples, marketing peeps, @momotato, @1moy, @cowboybibimbap, @kransomwastaken, @sdsamshel, @gendomike, @monsieurlamoe, @calaggie, @akirascuro, @alexleavitt, @tentontim, kent, @zzeroparticle (for organizing a chaotic dinner party), @s_words (AX press dept), @jdcseiken (and group), @_eternal, @trackingrice (for their work), @kevo31415, kylaran, @shinmaru, @icystorm, marina, other #sccsav folks, Anthony/Shinji, @amoirsp, @toastcrust, all the Ps (and Kyosuke), @MangaCast, Felipe, James, and many others who may have been forgotten.
You might also be interested in : Anime Expo 2012: First Day
PS. The author poses the question: Was AX2012 Heaven or Hell Con?
