UlasanAnime.com – Chara Expo USA 2018, much like many Japanese expo events, began its excitement the night before, with attendees strategizing on how to best navigate the upcoming day, whether by camping overnight or finding the most comfortable way to endure the wait. For those who opted out of overnight camping, the experience was about entering the venue to explore the merchandise and perhaps make a few purchases. However, for the majority participating in events, securing tickets was paramount, as event participation often relied on limited tickets.
The venue featured a stage area accessible to ticket holders, while those without tickets could observe from behind a barrier. This setup would feel familiar to anyone experienced with Japanese anime, manga, or doujinshi events. To obtain priority items, event tickets, or autograph tickets, attendees had to join a queue, and to get a favorable spot in that queue, camping out the night before was the standard practice, explaining why Chara Expo traditionally kicked off the night prior.
A notable difference from other Japanese media mix expos that Chara Expo USA presented was the apparent lack of robust line management for entry into the event itself. While the lines within the premises were generally well-handled, with a smooth and efficient checkout process for main booth merchandise and ticket distribution, the pre-event queue management was less organized. This led to a significant amount of time spent by attendees outside or around the queuing areas, a stark contrast to the orderly, columned lines often enforced in Japan, where staff typically set up designated areas for gear and spot-saving, preventing unauthorized line-holding and ensuring clear boundaries.
Despite this logistical hiccup, Chara Expo USA showcased a substantial amount of Bushiroad merchandise and related offerings, attracting several Japanese vendors and cultural exhibits. Among these was Okazu, an artist specializing in sumi-e paintings, who presented a live demonstration and gallery. Swallowtails also hosted a pop-up shop, catering to fans of butler-themed merchandise. The event also featured a community stage where a crew of four took turns performing karaoke.
Major industry players like Aniplex and Good Smile Company had booths, as did Animate USA and Hi-Dive, promoting their respective content. Cospa was also present, along with a dedicated card game section where Jungle was located.
The author’s primary focus was the autograph sessions and music performances held over both days. Saturday featured mini-live performances by three members of Poppin’ Party followed by the BanG Dream! session band, Raise A Suilen. Sunday’s lineup included Roselia. For autographs, the author expressed interest in many of the guests, with a particular curiosity for Aimi, Kudou Haruka, and Nakashima Yuki, viewing it as an opportunity to discover new talents.
Due to a three-ticket-per-person limit per session, the author secured three autographs on the first day and two on the second, also attending the Raise A Suilen performance from outside the barricades and a Roselia concert. The following is a breakdown of these “sub-events.”
Day 1 Autograph 1: Koyama Momoyo possessed a stage actress’s presence, even in the convention setting. The author, having gone to see her, found her to be very cool on stage, though the interaction was brief. The autograph process was streamlined, with four staff members managing each session, a higher number than typical. The author noted the amusing contrast between Momoyo’s cute appearance and her portrayal of a happy-go-lucky character in climactic scenes, choosing her to observe her mannerisms more closely, as she is not a typical seiyuu.
Day 1 Autograph 2: Kudou Haruka appeared exactly as expected. Despite it being a decade since the author first saw her in Nozo & Neko bonus videos, she retained the same striking presence. She is also releasing a photobook soon, and the author mentioned following her on Instagram. The interaction was brief, with the author complimenting her Instagram, before being ushered away. During the wait for this autograph, a pro-wrestling stage was active, creating a sense of déjà vu from Anime North, with the presence of Jushin Liger, highlighting the professional skill of NJPW talent. Simultaneously, the Popipa stage was also taking place, and the author caught what they could of it.
Day 1 Autograph 3: Nakashima Yuki was described as cute, possessing the countenance of a chika idol turned major star. The author reiterated her cuteness and mentioned informing her about attending Cinderella Girls Nagoya, to which she responded with a “see you later” as the author was politely dismissed. The author observed that some guests genuinely engage with fans, while others appear to be fulfilling an obligation, though acknowledging that all were technically obligated.
Raise A Suilen live: The author viewed the performance from the right side of the event space, outside the barricades, close enough to stage left where Riko stood. Raychell, positioned center stage, was also within view. The performance was described as “rock,” with the band members demonstrating considerable skill, comparable to Japanese girl bands. However, there was a distinct feeling that they operated as a session band. The author was particularly impressed by Raychell and Natsume, and found Riko’s “kick-skanking” while jamming to be a unique and engaging visual. Reo’s head performance was considered more peculiar than impressive. Seeing Kohara Riko on guitar was a highlight, a discovery for the author who recalled her singing during the Sket Dance anime days and her involvement in a Happy Elements idol project.
Day 2 Autograph 1: Otsuka Sae presented as a straightforward individual. Her outfit that day reminded the author of something seen on Aimi’s Instagram. The author complimented her guitar playing the previous day, noting a “wild flash” in her eyes just before she began. The author aimed to get autographs from all three guitarists on the second day, but Aimi sold out quickly. The Roselia concert ticket served as a consolation prize.
Day 2 Autograph 2: Koharu Riko was largely a new acquaintance. While the author had seen footage of “The Third (kakkokari)” during a delayed viewing, seeing her in person was a different experience. She was also described as very cute, with a chika idol glow, though less pronounced than Yukki’s. Her attire that day, a bundle on her head, was particularly adorable. A significant reason for attending was to connect with other Koharu Riko enthusiasts, as the author was not yet a dedicated fan.
BONUS: Day 2 Vanguard Talk Stage: The author joined this event midway, finding it a free opportunity to rest after attending other events. Aimi, Morishima Shuuta, and Maeda Seiji were present. Unfamiliar with Vanguard, the author found amusement when Aimi drew DA PUMP in response to a question about the USA, before dozing off.
Starlight Review stage: This was a talk show where cast members introduced the show and characters. Lisle hosted in her characteristic style, which was well-balanced by the scripted nature of the event. Mimo, Momoyo, and Aiai participated, showcasing dub clips and highlight reels from the anime, including a spoiler. Clips from the first musical were also shown. Due to fatigue from consecutive nights of camping, the author took a power nap in the seating area before the event. This stage, like others, was sparsely attended, except for the Revue segment, which was full, with attendees even standing within the blocked-off area.
The questions posed during these stage events were generally light, akin to standard seiyuu “nama” segments, sometimes involving drawing. The Revue segment focused on explaining their activities. The talk stages were well-balanced by the scripted nature of the event.
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Roselia is super super super cool, isn’t it??
Thank you America!!
See you again.?
by??#Roselia#Charaexpo#CharaExpoUSA#CharaExpoUSA2018#BanGDream #???? pic.twitter.com/Jguct5n3gZ
— ???? (@sakuragawa_megu) November 12, 2018
Roselia live: This performance was arguably the main event of Chara Expo USA. Roselia is the most popular entity within BanG Dream! in Japan, and this popularity extends to the United States. Attendees were even scalping event tickets, despite the availability of free viewing from afar. A last-minute random seating process was implemented to differentiate between those who secured priority tickets and those camping outside the main event area. This system, where numbered tickets determined seating, was considered a neat approach, similar to practices in Japan.
Word had spread about the event, with approximately 300 seats available and an additional 200-300 people standing to watch. The author noted that more chairs could have been added. Ticket holders were admitted about an hour before the event and randomly drew seat numbers. The process was efficient, taking little time due to the early queuing and the relatively small number of attendees. As the last major event, it benefited from less concurrent activity.
The author secured a seat (#147), which was slightly above average, but unfortunately, the person directly in front was significantly taller, obstructing the view. A notable event occurred.
The show began promptly, with all Sunday events having been moved up by 30 minutes to compensate for Saturday’s delays. The performance featured a visual-kei-animu aesthetic, with the band members making a dramatic entrance.
While a setlist was not immediately available, the band performed their newest song. This performance mirrored Roselia’s live event the previous weekend, where their new keyboardist debuted and performed three songs.
The new keyboardist also made a surprise appearance at Chara Expo USA, performing three songs. The setup for her performance, involving rolling in a platform with keyboards, was a significant undertaking. The hour-long show prioritized hype songs over extended MC segments. When Aiai spoke less, she appeared more composed. Both Aiai and the cast hinted at the surprise, leading to an enthusiastic crowd reaction.
The new voice for Rinko is Shizaki Kanon. She appeared visibly nervous, likely due to the American audience and her limited English proficiency. Initial sound issues with her setup during her first song did not help. However, the crowd’s enthusiastic response to her surprise appearance seemed to boost her confidence as the show progressed. She exhibited the demeanor of a new idol, reminiscent of AKB48 members.
Overall, the set, music, crowd, and sound quality were good. Despite initial concerns about the venue’s acoustics, the sound proved adequate for Roselia’s performance. The band delivered a show that was two-thirds showmanship and one-third music-driven narrative, with Aiai acting as the conductor. Shimayukki, Megucchi, and Kudoharu provided strong support, contributing to the performance’s unique blend of rock and theatricality. The author found their eyes drawn to Shimayukki despite a preference for the other members, due to her captivating stage presence.
On the final day of Chara Expo, a mikoshi procession took place. This felt akin to Roselia’s integration into an exo-cultural event like Chara Expo USA. The author expressed satisfaction with the appropriate crowd, the event’s scale, and Bushiroad’s commitment to delivering Roselia’s top performance in the USA.
PS. The author plans to attend Anime NYC and AWM, sacrificing sleep, and invites attendees to say hello.
