UlasanAnime.com – This article presents the personal reflections of a Producer regarding the IDOLM@STER 18th anniversary stream and its implications, particularly for the SideM franchise.
The author acknowledges that these are subjective thoughts, shared in the context of online community discussions where some SideM fans express concern, while others offer perspective. The piece emphasizes the importance of perspective, empathy, and compassion in navigating current challenges.
A key observation is the strong focus of many online IDOLM@STER communities on the core game products like Deresute, MLTD, and the Enza Shiny game. Console game players tend to be less visible, their contributions often relegated to obscure data points rather than forming tangible community links. This suggests that the overall IDOLM@STER branding might not be as robust as it could be.
The ease of access to free-to-play mobile games, often requiring only a smartphone or emulator and a platform like Qooapp, contributes to this phenomenon. The author draws a parallel to anime culture in America, describing it as a “rainbow regurgitation” of Japanese trends, where much is lost in translation or, more precisely, in the localization of a media mix IP that wasn’t localized to begin with. Localization companies are seen as mere publishers, lacking the marketing expertise to fully integrate into the media mix and capitalize on opportunities like the SideM Ice Cream promotion.
The author states they would feel less secure as a SideM Producer if their engagement was limited to just the game. The broader appeal of concerts, live streams, music, anime, comics, and the overall fandom are considered crucial. This is presented as a potential explanation for the discontinuation of the Growing Stars game, though the author notes that not much has materialized from this aspect.
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Recalling the SideM announcement at MOIW 2014, the author, then a newcomer to IDOLM@STER concerts, felt overwhelmed. Even then, there was a collective awareness of the growing popularity of joseimuke content, where women’s interest in 2D male characters was a significant market force. The author admits to finding SideM’s entry into this sphere somewhat “sus” from the outset, suggesting it might have been a somewhat opportunistic move.
Despite initial reservations, the author acknowledges that SideM fits into this market trend. They express mild bemusement that Bandai Namco (Bannam) might have been slightly late to the game. The core question remains whether IDOLM@STER as a business can successfully translate into joseimuke content and a media mix strategy. While hindsight offers clarity on missteps, the overall success remains somewhat ambiguous.
The author believes that Bannam executed the initial SideM vision with a degree of urgency. Vision 2.0 began with IDOLM@STER 2, introducing Jupiter, who are considered linchpins connecting the franchise to its origins and to SideM. SideM also provided a home for Akizuki Ryo, a significant contribution. While this might have come at the expense of SideM’s identity as a female-focused franchise, it was a crucial move within the larger context of IDOLM@STER’s 18-year history. These actions are compared to Shiny Colors’ strategy of introducing new units annually from 2019 to 2022. However, the author feels that Bannam and the SideM team didn’t capitalize on these moves effectively, perhaps due to an urgent need to solidify the brand.
This urgency, the author posits, led SideM to follow a path similar to Million Live, mirroring the transition from web game to app game. It also explains why SideM received a TV anime before Million Live. The author questions whether this urgency ultimately paid off, stating that the transition to the app game, SideM LIVE ON ST@GE, was detrimental due to its perceived lower quality compared to other games in the series. If rushing was a contributing factor, it was a poor decision.
The shutdown of SideM GROWING STARS in 2021, a game launched in 2021, remains a mystery. However, the author suggests it might be a consequence of the previous mistake with LIVE ON ST@GE. Despite this, they emphasize that Bannam should take responsibility for the franchise’s perceived mistreatment, especially with the game’s closure. The lack of a central game platform for SideM’s character content is acknowledged as a potential source of envy and criticism, though the author suggests it might be an acceptable outcome.
Objectively, SideM appears to be adopting a leaner, more agile approach. This strategy, involving announcements, cast reveals, recorded songs, and drama, is typical for new media mix franchises. It stands in contrast to the traditional IDOLM@STER business model, which has only recently seen a shift with the launch of Shiny Colors. The author finds this a peculiar evolution for an IDOLM@STER brand, especially without an ongoing game to engage players. Until this existential issue is resolved, SideM players and producers are likely to remain unsettled.
Adopting a silver-lining perspective, the author suggests that Bannam did its best, promoting the franchise and achieving notable successes until the COVID-19 pandemic years. There may not be much more to execute within the original Vision 2.0 game plan for SideM.
The author then offers a prediction, acknowledging the risk of being wrong: the sixth IDOLM@STER franchise might also be joseimuke. Referencing a statement by KominoP about a development starting five years ago, the author speculates this could be linked to the emergence of titles like Revue Starlight. The prediction is that this new franchise will be joseimuke and 2.5D oriented, filling a perceived gap in the IDOLM@STER franchise’s offerings. The author expresses a desire for real-life performances, drawing a parallel to their enjoyment of the Umamusume stage performance and SideM’s rodokugeki (reading plays). This leads to a question about why IDOLM@STER has been slow to embrace such formats.
The author identifies Umamusume as the primary threat to IDOLM@STER on paper, while dismissing other franchises like Bang Dream and D4DJ as being “for kids.” Love Live is seen as a non-IDOLM@STER entity that still belongs to Bandai Namco. Therefore, the franchise’s desire to expand and add new elements is crucial for growth, especially to compensate for players who may eventually “graduate” from the series. The author acknowledges that Bannam will inevitably make mistakes, and it’s understandable for fans to disengage when these entertainment IPs cease to be entertaining.
The exception, in the author’s view, is Cinderella Girls, which continues to thrive, with Cygames seemingly having found a winning formula. The author mentions the ongoing “doomposting” and the disruptive behavior of unvoiced Producers, characterizing them as entitled individuals. Ultimately, the author concludes that one person’s bug can be another’s feature.
