UlasanAnime.com – When introducing the IDOLM@STER franchise to newcomers, especially those whose primary exposure is through Cinderella Girls Starlight Stage, finding the most engaging and informative way to explain it can be a challenge. This thought process leads to considering the most enjoyable and compelling explanation from a reader’s perspective.
Million Live can be seen as the equivalent of AKB48 in relation to the original IDOLM@STER, much like AKB48 is to older idol groups from the late 90s and early 2000s. The early IDOLM@STER games emerged in the 2000s, a period when the real-world idol industry had already undergone significant transformations.
A key characteristic of Million Live is its emphasis on a vast catalog of songs and live performances. This aspect mirrors the style of the 48 Group, which features numerous live shows and events offering fans access to a large number of idols. While this comparison might be a slight overstatement, Million Live undeniably represents the next evolution or continuation of the 765Pro enterprise. It functions as both a spinoff and a parallel narrative that includes the original idols.
This distinction sets it apart from Cinderella Girls. Cinderella Girls is better understood as a platform, akin to Touhou or Vocaloids, serving as a modern fan space. Coupled with a highly polished mobile game, it forms a recipe for success. Today, much of Cinderella Girls’ popularity is not derived from its association with the original series. While 765Pro served as a minor gateway, particularly in the early years, Cinderella Girls has built upon the strengths of IDOLM@STER, making it feel familiar to existing Producers. With its more fairytale-like aesthetic and the setting of 346Pro, Cinderella Girls is well-positioned to cultivate its own fanbase, independent of the original.
Therefore, to address the initial question, it’s an oversimplification to view Million Live as merely an addition of 37 more idols to manage. It’s more akin to a theater troupe than a standard idol agency, with idols inhabiting distinct contextual spheres. The question arises of how to construct a “danketsu” story within 346Pro; while possible, it would differ significantly from the original. Certainly, from a Producer’s daily perspective, they are just more idols to keep track of, but it feels like a different family. This might explain the limited inter-IM@S shipping and the tendency to keep ML and CG in separate categories.
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Examining the live performances offers another perspective. One might question if the voice actors for Cinderella Girls are more “mercenary.” While uncertain, it’s observed that for live performances, Million Live frequently calls upon the same few individuals, with the rest of the cast participating occasionally, much like any other job. From a performance standpoint, Million Live shows are not demonstrably more challenging than Cinderella Girls’ performances, although the latter often involve larger budgets and a greater focus on theatrical elements. In terms of singing and dancing on stage, the overall difference is minimal. Performers who have more opportunities and practice tend to excel, regardless of which series they represent.
If Nunu’s performance of “Pon de Beach” at the 10th anniversary is considered a benchmark, a select group of both Cinderella Girls and Million Live performers have reached that level. While it’s debatable whether Million Live voice actors are inherently better dancers – a skill more prevalent in 2017 than in 2007 when Kugyuu was prominent – their increased practice does contribute to their proficiency. However, the dance choreography for both series generally remains within the standard difficulty level for female voice actors. Those familiar with SideM can attest to more demanding dance routines.
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An exception to this might be Aimi’s guitar playing. The only comparable skill, as far as is known, is Makino Yui’s piano playing, though she is unlikely to showcase this for Cinderella Girls anytime soon. Drumming skills, such as Hegochin’s, are in a league of their own.
There have been analyses of live performances, detailing song assignments and frequency. Million Live actually does not have significantly more live performances than Cinderella Girls; it’s a modest increase, primarily involving the core group of six or seven individuals.
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From the perspective of a voice actor enthusiast, there appears to be a greater number of “true believers” among the Million Live cast. This is partly because the group of 37 idols is fixed, requiring them to succeed or fail without alternatives. Many secured the Million Live role early in their agency careers, making it a significant commitment both professionally and emotionally. Furthermore, individuals like Kokochan, Todakun, Yunkon, and Pyon, who exhibit a more nerdy disposition, contribute to a narrative that stands out more than the typical “girl’s talk” atmosphere often found in Cinderella Girls events.
A more crucial factor is the diverse “vintage” of the Cinderella Girls cast, as new members are gradually added. This includes individuals who were relatively new to voice acting just five years ago, alongside those who were already established when selected. Consequently, there is less of an “I don’t get many other jobs outside of iM@S” sentiment within the Cinderella Girls circle.
Discussions surrounding Cinderella Girls tend to adhere to industry standards, which can be enjoyable and highlight relationships that extend beyond professional obligations. Naturally, as the same individuals collaborate more frequently, their bonds strengthen. This might be observable throughout the ML3rd tour or at the 8th/SSA event. Similarly, during the main push for the Cinderella Project, those dozen or so individuals garnered considerable media attention.
This observation leads to the appreciation of how engaging HRR can be.
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On a personal note, Million Live seems to be the direction Bandai Namco is focusing on. While still supporting the original idols, their appearances outside of the Aisute girls are infrequent. Each idol has their own commitments, which is understandable, but the camaraderie among the original IM@S girls is something less evident in the current succession of talk shows.
This sentiment is expressed with the caveat that the author joined the fanbase around 2011, aligning more closely with the push for Nu/Harami/Azumin than with the older generation. Despite being later additions, there’s a perceived closeness to HaraNuAzumin, who are not vastly different from PyonKoroMochi, aside from approximately ten years of maturity. Harami’s generally carefree nature further emphasizes this.
On the surface, Miliraji presents as a chaotic program where the hosts are highly energetic. It possesses a distinct appeal, attracting a younger demographic, which may indicate a broader generational shift within the otaku community in Japan.
Million Live is the source of new content. Unbeknownst to many, by 2015, Million Live had more songs than Love Live, even at Love Live’s peak, illustrating its active development. Both projects are handled by Lantis. While Love Live generated substantial revenue, Million Live was tasked with releasing an exceptionally high number of CDs annually between 2013 and 2015. This led to significant activity during the author’s immersion into the event culture aspect of IDOLM@STER. Million Live’s more cohesive package at the time, compared to CG or even 765Pro, made it easy to engage with. It didn’t require an anime adaptation (as the CG anime demonstrated, success is not guaranteed), but rather a lower barrier to entry.
With the advent of CP and Deresute, the landscape has evolved further. The appeal of Million Live might have stemmed from witnessing new voice actors and sparking curiosity about Bandai Namco’s successor/spinoff strategy. Moreover, Million Live’s live events are genuinely impressive. Wanst was excellent on Blu-ray, ML3rd was a life-changing experience, and Fourth was emotionally profound.
Playing the social game also provided valuable insights into character lore and facilitated engagement with the niche franchise over the years. Despite not attending a Million Live-specific event until ML3rd, it felt like returning home.
The rendition of “Kokoro ga Kaeru Basho” on the second day of the 10th anniversary event felt particularly resonant. While the emotions were directed at IM@S as a whole, the choice of a Million Live song felt fitting, suggesting its place in the franchise’s current trajectory. To followers of the franchise from a distance, it represents a desired destination.
