UlasanAnime.com – Originally, the intention was to provide a recap of 2019, and to complete the recap of 2018. However, due to work and other unforeseen circumstances that demanded time and attention in late December, this was not accomplished. The plan is to work on these recaps throughout January.
Instead of a simple list or multiple lists, the approach was to discuss trends and offer a broader perspective on certain topics. Thus, here is an overview.
To begin, we are currently witnessing the next wave of original content localization, with an unprecedented number of free-to-play mobile games being ported to English. The significant success of FGO, ranking among the top-10 grossing games in 2019, is a notable development. While Japan has consistently been a powerhouse in video games and electronic entertainment, it’s a surprise for those who have followed the franchise since its inception, something that likely couldn’t have been foreseen 20 years ago.
This trend signifies a reversal compared to manga and light novels. These properties, which are comparatively intensive in terms of effort and cost, are now able to gain traction across the Pacific due to their substantial revenue generation. Even major franchises like One Piece or Naruto do not consistently generate a billion US dollars annually, and they remain heavily controlled by their publishers. This is even more true for less prominent light novels or any print books.
Conversely, translating books and manga is relatively straightforward, which explains the rampant escalation in their availability. Localizing anime and offline game content is also comparatively easier. As a fan of IM@S, the challenges posed by Bandai Namco as a publisher, judge, and executor are well understood. This multinational entity faces hurdles in an ever-evolving landscape where significant profits are attainable, provided they can navigate agilely to secure a share of the lucrative electronic entertainment market. Therefore, money is the primary motivator; the rest involves incredibly difficult work in certain cases.
Understanding how this translates to the subtle reasons behind an individual’s affection for an anime character is more complex. This is where introspection, with the benefit of 20/20 hindsight, allows us to analyze past events to gain insights that can hopefully lead to better foresight.
Event culture is simultaneously becoming normalized and replicated internationally. A prime example is the practice of flower stands. The question arises: why are these present at conventions? Do events like TGS feature flower stands? Perhaps for the event itself. It seems somewhat unusual to present them for the guests of an event. However, as is common with “weeaboo” culture, this often involves a “Morpheus strip” where Western audiences adopt elements of Eastern culture, repurposing them for their own contexts, often out of context or solely within the confines of platforms like Reddit, YouTube, and random blogs. To some extent, this is an accepted phenomenon, and it generally remains harmless as long as it involves individuals spending disposable income to support Asian celebrities, keeping the activities fun and lighthearted.
And this is just about flower stands. There are likely other examples, but it’s important to maintain control and ensure these practices do not lead to pain, suffering, or even minor irritation.
Thanks in large part to Bushiroad’s efforts in promoting their more niche, event-tied content in English, we are seeing more of it through guest appearances and events like Chara Expo USA. The localization of concerts remains a different matter, but live viewing events appear to be gaining momentum.
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If we consider anime and games as the connecting threads between the West and the East, the sustained growth of anime films (encompassing both critically acclaimed and more mainstream releases) necessitates similar distribution strategies overseas. The growth of anime movies, particularly for struggling theaters in North America, is a positive indicator. The performance of the Konosuba film in 2019, and of course Promare, exemplify this trend. It is unfortunate that audiences in America will not see Shinkai’s latest film until 2020, while the rest of the world has already seen “Weathering With You.” This delay is likely due to business reasons, which is still a regrettable situation.
Speaking of the Konosuba film, it is hoped that some anime convention will bring Rie Takahashi to America in 2020. It is remarkable that so many theaters in North America screened that brief pre-movie interview.
From the convention perspective, it is believed that there is ample opportunity for competent, for-profit entities to deliver genuinely high-quality anime convention experiences for adult fans within the anime community. The primary obstacle, in this view, is the profit-seeking motive that attempts to outmaneuver execution with overly complex strategies. It is far more practical to emulate successful models and focus on improving execution. This applies not only to convention organizers but also to service providers for conventions. Significant progress is still needed, as many conventions have yet to address even the most basic aspects. As attendees become more discerning and financially stable, there will be greater scope for growth.
In this decade, it is hoped that more scalable methods will emerge to ensure that fundamental aspects like line management and registration are handled effectively at all conventions. This was largely achieved in the 2010s, and the trend is continuing with fan convention management services offering enhanced features such as RFID badges and badge mailing. Ticketing server failures should be a thing of the past, even for high-demand “weeb” concerts, and improved methods for handling such events are needed beyond just online rushes. The sheer volume of attendees at these events presents a unique challenge.
This is in addition to existing developments, such as cruise conventions, resort hotel conventions, and fan-organized side events that run concurrently with conventions. Wota Peace Party is one such example. It is desirable to have more accessible avenues for enterprising fans to integrate with conventions, and for conventions to assist these fans in leveraging these experiences to host their own “panels.” There is no reason for disconnect; it is time for “Room Parties” to mature, and this could potentially occur within the next ten years.
Regarding convention programming, it is also considered opportune to adopt best practices from Asia. The desire is for more engaging guest panels that leverage their entertainment strengths. If Aniplex is flying Aoi Yuki to NYC, it would be a significant missed opportunity not to have her engage with attendees in a manner that fans recognize her for. This is what she is known for! There are other similar instances. It is acknowledged that conceptualizing panel content from a showmanship perspective can be challenging, as many industry-style panels resemble marketing presentations more than genuinely entertaining content. However, there is no excuse to invest substantial resources in an offsite location and have speakers merely read from a spreadsheet. This represents a poor utilization of money, time, and effort. It is encouraging that some individuals grasp this concept, but it is crucial to allocate some of these funds towards creating enjoyable content that effectively showcases the guests’ unique charms. The objective is to foster fan engagement, and this requires a comprehensive approach. Flying thousands of miles to meet fans only to falter at the final step is counterproductive.
Related to this, and originating from the other side of the world, it is anticipated that the next ten years may see the actual takeoff of Japan-hosted otaku experiences. Or at least, that is the hope. Concert tours such as Love Live (and the upcoming Numazu tour) represent Japan’s efforts in this area with varied outcomes. While often unsuccessful, guided tours offer a straightforward way to bridge the gap, provided the fandom is sufficiently mature and has reached a critical mass of attendees. The work involved over the past decade in guiding some producers likely contributed, but the most significant success factor has been the broader Bushiroad-brand fandom, which drew in participants through their engagement with both the core franchise and fellow fans. Event organizers worldwide have also played a role in compiling sufficient information to direct individuals to Japan, paving the way for more to follow. It is rewarding to witness the cumulative effect of small contributions yielding long-term results. This ultimately circles back to the reasons behind the fascination with flower stands.
It’s time to update the 2020 Eventing post!
