UlasanAnime.com – The Anime North 2016 convention introduced a new ticketing system for autographs and photos with guests, specifically voice actresses Shimoda Asami and Hasegawa Akiko. This change, while intended to improve the experience, generated a significant amount of “salt” or dissatisfaction among attendees, particularly other producers. The author, however, offers a nuanced perspective on the issues.
The core of the discontent revolved around the autograph ticket distribution. Previously, attendees would queue for hours directly at the autograph area. The new system involved a ticket giveaway at the convention’s opening, which also coincided with the dealer’s room opening. This created a chaotic “stampede” situation, leading to frustration for those who arrived early but were outmaneuvered by others.
The author acknowledges the “danger” of this stampede and suggests several potential improvements. These include having a designated “lead walker” to guide the crowd, conducting ticket distribution outside the convention center, and establishing a single, controlled entrance to the dealer’s room instead of a four-wide approach.
Furthermore, attempts by some attendees to communicate potential issues with the ANorth safety and line control staff were reportedly met with limited action. The author notes a perceived gap between the planning group (GR) and the public safety department, highlighting that line control staff had constraints, such as not being able to hold up the dealer’s room line or distribute tickets in advance outside the venue. This perceived indifference contributed to the negative sentiment.
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Despite these operational flaws, the author argues that the ticketing system, in essence, reflects the reality of obtaining autographs from popular guests. With limited slots available, such as only about 40 autographs from Hasegawa Akiko per day, the system makes the scarcity tangible. The author expresses satisfaction in being able to attend panels and photo sessions while still having the opportunity to try for autographs, something they consider better than the average anime convention experience.
Additional execution issues were noted. For instance, autograph tickets allowed for two signatures, but the tickets were not collected after the autographs were given. This loophole allowed individuals to potentially get turns for both guests if they had a friend in another line, effectively allowing some to bypass the one-ticket-per-person rule and potentially disadvantaging those who were on standby.
This leads to a discussion about “security theater,” where the effectiveness of measures is questioned. The author contrasts this with conventions like Otakon, which they praise for their open forums where staff and fans can openly discuss and address issues. The ability for convention staff to explain their reasoning or incorporate feedback is highlighted as a valuable aspect of convention management.
The author reflects on Anime North’s overall management since their first attendance in 2004. While acknowledging good GR and security teams, they express uncertainty about other departments. The convention, in their estimation, often feels like a blend of a casual cosplay/hangout event and a more serious guest-focused convention. The guest list is noted for its rotation of similar acts, including voice actors, wrestling, and occasional seiyuu and VK/cosplay guests.
The author posits that the “salt” should cease because Anime North has shown a commitment to its hardcore otaku audience by repeatedly featuring guests like those from IM@S and by implementing changes like the ticketing system. The implementation flaws are attributed to the novelty of the drastic change and the execution by line control and public safety.
Running a large convention like Anime North involves hundreds or thousands of individuals, volunteers or paid. The author stresses the importance of accountability, suggesting that fans should hold those responsible for issues within their influence accountable. Simultaneously, fans are encouraged to maintain a level-headed and constructive approach to their criticism, recognizing the human limitations of the convention staff and volunteers.
On a personal level, the author downplays the severity of the issues, attributing it partly to their own luck in securing tickets for all three days. They also acknowledge having experienced worse situations and that alternative systems can often be more problematic. The author suggests that cutting Anime North some slack for implementing a new system for the first time, or perhaps their own aging and mellowing perspective, also contributes to their less critical view. Even the unrefunded food expenses are brushed aside with a humorous remark about the exchange rate.
Ultimately, the author believes the situation is more about “theater” and gathering feedback than about fair ticket distribution. They emphasize the need for constructive criticism, acknowledging the emotional aspect of fan dissatisfaction but urging for it to not cloud rational judgment. The “saltiness,” while understandable as a coping mechanism, needs to have its bounds.
