UlasanAnime.com – Jotting some thoughts down before they fade, here’s a recap of Anime Weekend Atlanta 2015.
The convention is gradually evolving into a four-day event, but historically, its pricing has been quite affordable. This affordability is now a point of discussion as prices are being adjusted to match the convention’s growing quality, size, and overall experience. The registration process still relies on older methods, both for pre-registration and on-site registration, likely to cut costs. However, this leads to wait times that can extend to an hour. I opted for pre-registration and arrived late on Thursday night, meaning I had to wake up early for the pre-registration queue. My wait was only about an hour and a half, as I was among the first few in line when pre-registration opened, allowing me to get my badge relatively quickly. The process itself was notably slow, though.
The convention didn’t feel significantly more crowded than the previous year; attendance saw only a modest increase. Despite being held in the same building, the various event locations were quite spread out. I found myself spending most of my Saturday in the concert hall.
The smoking area in front of the Renaissance hotel was quite a sight, a veritable pillar of smoke. On Sunday evening, as I was rushing to the airport, I observed individuals power-washing the entire area.
The fire alarm was triggered again on Saturday night around 2 AM due to someone smoking on the fifth floor. A little consideration from attendees would go a long way.
A gentle reminder: please refrain from “nanpa”-ing the 17-year-olds.
The Etotama cosplay was quite impressive.
Regarding travel, the security line at ATL airport on Sunday night was a considerable challenge. I was among the last two or three people to board my flight home. Despite starting my journey later in the day, the TSA process was not smooth at all.
There was a significant number of people interested in Idolmaster at the convention, or so it seemed from our observations. This might be a growing trend, perhaps a theory that warrants its own discussion: the explosive popularity of Love Live! might be paving the way for newcomers to discover other idol franchises like Cinderella Girls and SideM. It appears that those who appreciate cute idols, regardless of gender, are finding their way into these series. It’s as if some people are starting to “get it.”
Indeed, there were many producers present at AWA. It’s great to see the growing fandom. And then you see this:
And I can only chuckle. Truly impressive.
Some impressions of the guests:
Yokoyari Mengo, a mangaka known for her artwork, also has a strong online presence, allowing her to create a compelling Iori if needed. It was a highlight when she asked if she could draw the “old” style of Makoto, as I only had a “new” style pin for reference.
Kato Fuku was as expected. Crunchyroll seemed to manage their schedule closely, which might have limited their exposure compared to other AWA guests. Their small brunch event was enjoyable; while I wasn’t directly involved, I had breakfast at the same time, a few tables away. It was coincidental. Emirin was exactly as I had imagined, but Kaorin was more of a pleasant surprise, as I hadn’t fully grasped her public persona beforehand. During their performance, a set of five songs, I stood next to a huge Emirin fan who had flown in from Japan. I didn’t realize it at the time, but later we noticed he had tagged himself on Eventernote. He performed the fan calls perfectly, complete with the PPPH (P-P-P-H) shouts. It seems he’s not alone in his enthusiasm.
A random aside: I was told by at least two people that one of the Crunchyroll handlers for the guests was the inspiration for a character in the WUG movies. He hails from the Chicago area and was part of Crunchyroll’s WUG contingent last year, which is how Yamakan and the team got to know him.
Lunatic Joker’s Tsukigami Luna was as graceful as ever. He was engrossed in playing LLSIF and DereSute and even did a 10-pull with a group of fans while in his autograph line.
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Miku is a winner. I had him sketch Nansu and re-identify myself as Seiota. This isn’t a problem; I’ve long moved beyond the traditional otaku hierarchy.
Aoi Eir… It feels like she’s been everywhere in a short period, but this was my first time seeing her up close. I managed to get a two-shot photo with her, as is customary through the JHR program. She’s a cool individual, despite any past controversies.
I didn’t get to properly see Sakaguchi or obtain an autograph, but I did spot him in the autograph area on Sunday while navigating the crowds.
I was “groped” by Yuyoyuppe. He and Hige Driver are great friends and have recently contributed to the anison scene. I wasn’t aware of their songwriting contributions until Saturday night, which is partly my oversight. Notably, Yuyoyuppe wrote “Hey Smith!” and Hige Driver penned the Monmusu OP. Hige Driver also contributed songs to Tokyo 7th Sister and a few for Trident. Hige Driver has also created other impressive works. I believe Yuyoyuppe also collaborates with Aoi Eir. Regardless, I had the chance to attend their set on Saturday, and it was an enjoyable experience. I recall seeing them perform before, perhaps at MOGRA or a similar venue. They also dabble in Vocaloid production.
fhana. The primary reason I booked my trip to AWA back in April was for these artists, coupled with the knowledge that the convention itself is of high quality, a fact that was confirmed. I was in Japan during their first solo live concert but couldn’t attend due to a scheduling conflict, which had been a lingering disappointment throughout the year. Attending AWA didn’t fully alleviate that feeling, unfortunately. Moreover, I wasn’t able to ask all the questions I had during their panel, so there wasn’t any in-depth discussion about anime and games, or any Aria-related geeking out. There was a brief chat about music, but they all primarily use Logic and its associated accessories.
Their live performance was more noteworthy. The sound mixing during the concert wasn’t the best. This four-piece band functions much like four instrumentalists, including Towana. She primarily moves around and occasionally interacts with Kevin or Yuuki. Sonically, they possess a distinct synergy that highlights each instrument individually. This might also be attributed to my standing position in front of the guitar amplifier. Their anison pieces tend to be more restrained, often fitting into formulaic structures with predictable ebb and flow. The instrumentation is where these songs truly shine, and I believe their more popular anison tracks are successful due to their well-crafted arrangements rather than sheer brilliance. For instance, “Hoshizuku no Interlude” effectively showcases their strengths and is cleverly composed. On the other hand, songs like “Kotonoha Breakdown” performed live offered a truly divine experience.
Let me reiterate: fhana is one of those bands whose live sound differs significantly from their studio recordings, even when using an ORB amplifier with my AKG K7XX headphones. There seems to be a hidden spirit of progressive rock behind their trendy beats and high-pitched sonics. This is perhaps a necessary approach for an anison band. However, I would gladly experience “Kotonoha Breakdown” live again, as it was exceptionally good. If likened to an engine, “Kotonoha Breakdown” was the track where all four cylinders were firing in unison, as sonically it felt perfectly synchronized; each musician was playing in perfect harmony with the others.
Additionally, the volume needed to be higher. The sound quality of the venue and setup was not ideal. During Aoi Eir’s set, it was too loud, yet it seemed just right for Kato*Fuku. It’s perplexing. For all three performances, I was positioned at the front, nearly center for fhana and to the right for the other two acts.
What else was at the convention? Food, food, food. We celebrated at a friend’s house on Friday night, and many jokes were shared, including a series of “CG is Fake” jokes. I’ll compile them soon. I didn’t attend any panels except for Kato Fuku, fhana, and Yuyoyuppe & Hige Driver. I spent time in autograph lines, browsed the dealer’s room, checked out the rave for a bit, and waited approximately 1.75 hours for my badge. Despite the rainy weather throughout the weekend, I didn’t get to use my Milimas umbrella.
I used my 765 Live Theater messenger bag and didn’t lose any pins. One pin did fall off, which might not have been an issue if I carried fewer items, or if a certain cat cosplayer hadn’t constantly drummed on it. (It actually serves as a good indicator if anything is falling out, so I don’t particularly mind.)
Please, let’s have no more fire alarms in 2016.
P.S. Food. Community Q BBQ for takeout was excellent. I thoroughly enjoyed all the offerings: baby back ribs, pulled chicken, pulled pork, and brisket. Both sauces were top-notch, with the fiery tomato-based sauce being the standout. Their mac & cheese is also very good, earning it a high rating.
There were about four food trucks in the dealer’s room. I tried the hotdog truck (featured in the top image), and it was decent, nothing extraordinary, but they used quality ingredients. I also sampled the Vietnamese truck, which was also just okay; the taste was good, but the portion size was small for the price. However, selling Vietnamese coffee at a convention is certainly a welcome addition.
This establishment is reportedly the third-best diner in the USA. While I can’t confirm that, it is indeed quite good. The fresh challah bread they serve is probably my favorite item (and they use it to make French toast on their menu), perhaps tied with the soup. I ordered a typically extravagant burger, which was a standard burger but with two patties wrapped in pastrami. It was acceptable. Again, quality ingredients were present, but it didn’t offer much beyond that; it’s what one expects from a diner. I found the matzo ball soup they served to be nuanced and delicious, though I wonder who would eat it besides people from NY/NJ or those of Jewish heritage?
