Anime Expo 2017: Matsuri of Japanese Kawaii Live

UlasanAnime.com – While the blog post title might be a bit lengthy, the actual experience of attending Anime Expo 2017’s Anime World Matsuri, specifically the “Japan Kawaii Live” on June 30th, offered a multifaceted experience beyond just the musical performances.

The event was designed to be more than just a concert; it aimed to create a comprehensive experience for “Producers,” a term used for fans of THE IDOLM@STER series. This included elements like a call book, merchandise sales, and an “offkai” (off-site gathering). The author notes that the overall feedback suggested attendees had a good time, despite potential logistical hurdles such as Anime Expo’s ticket pickup policy.

The live performance commenced approximately 30 minutes past 8 PM, which consequently pushed back the start of the author’s after-party by about 15 minutes, leading to a slightly compressed event schedule.

The author’s seating was in row E, on the right center aisle, which was considered close but not the absolute best vantage point.

To capture the sentiment regarding the achieved level of performance by THE IDOLM@STER CINDERELLA GIRLS, the author quotes a statement from the official IDOLM@STER blog:

??ANISONG WORLD MATSURI ?JAPAN KAWAII LIVE??,
which ?THE IDOLM@STER CINDERELLA GIRLS? took part in, has succesfully finished with round of applause.

We are so greateful[sic] to ?Producers ? who came to see ?CINDERELLA GIRLS? in L.A.
It could be said that the ?Produces? over here were as enthusiastic as those of Japanese and other Asian countries.

We would like to be proactive about making ?THE IDOLM@S[T]ER? well-known to ?Producers? in overseas.
We hope you continuing to produce them to expand in the world.

M1 ??Star!!
M2??GOIN?!!!
M3??夢???????
M4??Yes! Party Time!!
M5?????！??????

As Cinderella Girls were the opening act, the author had to quickly adjust their expectations, having initially anticipated Walkure or Wake Up, Girls! (WUG) to perform first. This order, in retrospect, might have made more sense. The performance included a dedicated talk segment where each voice actress (seiyuu) enacted a brief scene from the anime. Notably, this segment was not translated, which the author found surprising given the provision of dubbed video clips on the main screen. The author speculates that logistical reasons might have contributed to this decision, but emphasizes that, unlike in Taiwan, translation is still crucial for a significant portion of the audience.

The song selection for Cinderella Girls’ set was considered somewhat lacking by the author. They felt the performance would have been stronger if “Yumeiro Symphony” and the “Game with Ankira and Tulips” or a medley had been omitted.

Regarding fan participation, despite the presence of a call book, calls were indeed made by the audience. From the author’s perspective, these calls originated from a smaller percentage of the crowd but were discernible. The author specifically noted that during “Yes! Party Time!!,” approximately 10% of each section performed the bridge jump correctly, which aligned with their expectations. The author also pointed out that Cinderella Girls’ calls are generally complex, and many attendees seemed unfamiliar with the concept of “calls,” which involves sustained shouting directed at performers and fellow fans, rather than just penlight waving.

Beyond the songs and calls, the author expressed a degree of disappointment with the Cinderella Girls’ performance. They felt it did not meet the high standard they had come to expect from the group, based on previous experiences at smaller live events in 2016. Compared to the setlist at a previous event in Taiwan, this performance felt significantly less impactful, possibly due to a perceived lack of preparation.

Speaking of calls, the author’s voice was considerably strained after the performance of “Tachiagare!,” attributing this to the demanding Wake Up, Girls! songs.

M6??Tachiagare!
M7??Shoujo Koukyou Kyoku
M8??Koi? De Ai? De Bokundesu!
M9??Beyond the Bottom
M10??7 Girls War
M11??Gokujo Smile

“Beyond the Bottom” was a particular highlight for the author, as it was a song they had not seen performed live before. The audience’s unified shift to white penlights during this song was appreciated. The author was accompanied by a fellow Wake Up, Girls! fan from Taiwan who assisted with guiding calls, indicating the presence of overseas fans at the event, possibly including a higher number of Chinese-Canadian attendees. While calls were present, they were described as somewhat subdued. The venue did turn white during “Beyond the Bottom.”

The author acknowledged the significant improvement in Wake Up, Girls!’ performances over the years, contrasting them with other 2.5D idol acts and their own previous performances in 2014. Despite having seen most of these songs before, the author found Wake Up, Girls! to be the most impressive act of the night, even considering “Renai Bokun” and “Beyond the Bottom” as the primary draws.

Wake Up, Girls ! @ #AnisongWorldMatsuri at #AnimeExpo 2017!#WuG #WakeUpGirls pic.twitter.com/CJd5fXQ2aP

? AnisongWorldMatsuri (@AnisongWorld) July 1, 2017

M12??Koi! Halation THE WAR
M13??Ienai Borderline
M14??Bokura no Senjo
M15??Ichido dake no Koi nara
M16??Run ga Pikatto Hikattara

Walkure’s performance was described as enjoyable and hype-inducing. However, after watching their Yokohama Arena show on Blu-ray, the author felt that all five members were needed to create a truly impressive experience. While JUNNA and Mimoringo were acknowledged as great performers, their solo efforts were not enough to fully fill the venue. The author appreciated “RunPika” in this context and noted the crowd’s positive reception to “Ienai Borderline.” Despite the absence of obvious mistakes, JUNNA appeared visibly nervous on stage, which the author understood.

The night concluded with a performance by Aqours, who generated significant excitement among the audience. The initial roar of the crowd upon their appearance was louder than subsequent calls during their set. This was a recurring theme observed across all the performing groups.

M17??Aozora Jumping Heart
M18??Kimino Kokorowa Kagayaiterukai?
M19??Koini Naritai AQUARIUM
M20??MIRAI TICKET
M21??Yume Kataruyori Yume Utaou

The author stood for all of Aqours’ songs, only sitting during the extensive MC segments. The author questioned the length of Aqours’ MC compared to WUG’s, which was more concise, especially considering WUG performed six songs. Aqours delivered a performance that was largely as expected, with cute and pleasing outfits, and the crowd was highly engaged. While Aqours received the loudest calls among the four groups, the overall volume of calls was still considered not very loud, suggesting a cultural difference in how American fans engage with such events.

There was no encore performance. Following the final song, all the performing groups appeared on stage for a curtain call.

The Offkai

The author organized an “offkai.” To provide context, prior to Anime Expo and the Anime World Matsuri (AWM) announcements, a LINE chat group existed comprising many individuals who knew each other and their acquaintances, all planning to attend AX. This chat served as a typical “AX chat” for information sharing and building excitement.

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Following the AWM announcement, the chat group grew to over 200 members, and it was utilized for coordinating ticket purchases and sales. The process was largely successful and maintained a civil atmosphere. Many members opted not to join the “spammy” nature of the large chat, which was also acceptable. However, organizing an offkai that could potentially cater to such a large group necessitated a substantial venue.

The author felt that with Cinderella Girls coming to America, it was an opportunity to “YOLO” (go all out). The inclusion of WUG, Aqours, and Walkure also added to the pressure and opportunity. Ultimately, due to the numerous commitments associated with AX, organizing the offkai became the author’s primary responsibility. This was made possible by the assistance of many individuals, including a local contact who helped scout locations. Despite any shortcomings, the offkai largely proceeded smoothly.

The author mentions that the dance portion of the offkai can still be viewed on Chun’s Twitch channel, though the availability of these videos is not guaranteed long-term.

Without delving into excessive detail, the author expressed satisfaction with securing the Novo venue for the offkai, highlighting the significant financial commitment involved. While some chose not to attend due to the cost, the venue’s proximity to other AX activities and its hands-off organizational requirements made it an ideal choice.

The event was described more as an “anikura” (anime club/gathering) than a formal offkai. Attendees engaged in various activities, with approximately half of them dancing at any given time, while the rest relaxed. A considerable number of attendees departed before the offkai concluded to queue for subsequent events.

The Callbook

A call book was produced for Cinderella Girls, and the author noted a trend where various groups prepared similar materials. A Walkure pamphlet was also available, though in smaller quantities. Approximately 500 copies of the Cinderella Girls call book were printed and distributed quickly. The author had connections with individuals involved in the creation of several call books, including one for Aqours and even a book for Konomin.

Distributing the call books presented challenges, as it was reportedly prohibited in the MS Plaza, a private property. Distribution eventually took place under a deck behind the LACC West Hall, near the ticket pickup area and across from the Staples Center. This location became a hub for a large group of people distributing call books, a testament to the combined presence of WUG, Cinderella Girls, Aqours, and Walkure.

The author contributed to the Cinderella Girls call book, primarily assisting with the logistics of funding, and also helped with the printing of the Wake Up, Girls! call book.

? pic.twitter.com/nzjnz9QLFp

? omo@KawaiiKon2024 (@omonomono) July 5, 2017

The Buppan

Merchandise sales, or “buppan,” were available at the event. Attendees could pre-purchase Love Live! penlights for pickup at the venue, alongside CDs, T-shirts, and other goods. A Cinderella Girls 5th anniversary T-shirt and miscellaneous Wake Up, Girls! 3rd tour merchandise were also on sale. Love Live! offered a specific set of items for Aqours that could be proxied, a service some members of the large chat group utilized.

The lines for buppan were described as extremely long, stretching from outside the main entrance of the MS Theater and snaking around the plaza. The author had to skip the line to pick up items due to time constraints, as they had to arrive at the venue early for setup, which conflicted with the queuing time.

The Ticket Pickup

For AWM concerts and other Anime Expo shows, all tickets were handled through will-call. Typically, attendees could pick up all their tickets simultaneously. This meant that tickets for the June 30th concert needed to be collected before the show, requiring attendees to have their badges beforehand. While AX’s online instructions differed slightly from their in-person procedure, the latter ultimately simplified the process. Attendees could pick up their purchased tickets, and for tickets purchased by others, a valid ID and the purchaser’s email were sufficient. The author noted that the availability of Day -1 ticket and badge pickup at AX eliminated any urgent need to collect tickets on June 30th.

The VIP Event

Following the concert, a VIP event was held on the floor below the venue. Access required a VIP badge. The event primarily consisted of the performers lining up and waving at attendees as they departed, offering a brief opportunity for eye contact and interaction. The VIP event for the July 1st AWM show was similar, with the exception of a high-touch session. The author expedited their exit from this event to attend the offkai, noting that the process was generally quick, minimizing wait times for regular attendees at the offkai check-in. Being near the front of the queue allowed the author some extra time with Myu while the logistics of the line were being sorted out. The author attempted to point out Moyo’s signed penlight, but believed Myu misunderstood, possibly thinking it was an expression of liking Miria.

The Rest & Conclusion

The author believes that America is well-prepared and receptive to anime music events like AWM at Anime Expo. The lineup was considered impressive, with Wake Up, Girls! and Aqours particularly standing out and impressing both interested and less engaged attendees. While the author was not fully satisfied with Cinderella Girls’ performance, they acknowledged that the mere presence of IDOLM@STER in America was significant, and they knew the group was capable of better performances. On the other hand, the author observed that American fandom still has considerable room for growth. The practice of “calls” is not yet a deeply ingrained part of the culture, and attendee density remains a challenge, requiring a large convention like AX to fill a 7,000-seat venue. While fans are somewhat organized, many are still inexperienced. The author gained valuable insights into American fandom through observing and participating in various activities. Overall, the author feels that the situation is progressing positively. The aspirations of Japanese organizers are achievable, but the path forward will not be easy.

Attendees at the offkai partied enthusiastically, but the majority were simply happy to be present, with fewer individuals knowing the specific dance moves. The author believes there is still much work to be done by the community in terms of teaching, guiding, organizing, and taking the next steps to further develop the fandom.