UlasanAnime.com – In the vast landscape of 21st-century Japanese media-mix content, the IDOLM@STER MILLION LIVE! anime, or “Miriani,” can be best understood as an entry point into a specific sub-brand of the IDOLM@STER family. This anime serves as a gateway for new fans to engage with a property that has a significant presence in its ongoing free-to-play mobile game, which itself is a constantly evolving platform for content consumption.
The financial backbone of such extensive productions is, as is often the case, gacha games. As a player and fan of Umamusume, the parallels with Million Live are striking. There’s a shared context of how these games fund elaborate media projects, and a future discussion might delve into the intersection of Uma Musume and IDOLM@STER content and fandom. Furthermore, the influence of children’s entertainment, particularly series like Aikatsu, is palpable in Miriani. This connection was evident when the anime’s announcement led some, including myself, to associate it with “nichiasa,” or Sunday morning cartoons.
The journey from the dimly lit Japanese arcades of the 2000s to a Sunday morning 10 am slot on TV Tokyo in 2023 is a long one. However, the significance of being a Sunday morning cartoon extends beyond its broadcast time; it dictates the show’s suitability for that slot. This characteristic can be a point of contention for some English-speaking internet viewers, as seen in online reviews. These viewers often approach idol anime with a specific lens, expecting content similar to Love Live and the broader IDOLM@STER franchise, potentially overlooking other entries like Selection Project or Chance Triangle Session. While these are valid shows, they occupy a different space on the “sliding scale” of idol media, often leaning towards “irrelevant otaku bait.” The question arises whether the average proto-ChihayaP truly understands that IDOLM@STER encompasses more than just melancholic themes.
It’s important to acknowledge that the Million Live anime can, and perhaps should, be viewed in conjunction with the original IDOLM@STER TV anime and its subsequent movie. These earlier works are celebrated and were even used as official marketing material to promote the Million Live anime prior to its theatrical release. As someone who experienced that “golden era,” the decision to connect Miriani to these predecessors, while not necessarily the optimal choice, does make a certain kind of sense.
The Million Live anime, in its “nichiasa” format and utilizing a 3D anime style (lovingly crafted, it must be said), effectively completes the rehabilitation of the property. It marks a transition from Mami’s performance of “Agent Yoru o Yuku” on NicoNico Douga to Asterism singing “Dear…”. Even if the latter is performed by someone from U149, the rehabilitation is apparent. This evolution signifies that while the context changes, the core remains, presenting IDOLM@STER in a new package, one that might be less suited for the typical Western adult anime viewer.
Over the years, Million Live Theater Days has evolved from a “baton-passing” game where the original 765PROAS team could finally rest after a decade of hard work, to welcoming over 37 new members. The brand has become more female-player friendly, trendier, and more aligned with mainstream sensibilities. This shift may have alienated some older fans or those who preferred other IDOLM@STER franchises, but it has successfully carved out a distinct niche for Million Live. This trend is likely to become even more pronounced with the upcoming Shiny Colors anime. In contrast, the U149 anime, which adhered more closely to the original anime’s formula due to its smaller cast, clearly indicates that the Million Live anime is charting a different course.
Consequently, unless one is already deeply invested in the franchise, Miriani might prove to be surprisingly not to one’s taste. And that, ultimately, is perfectly acceptable.
Zooming out, the IDOLM@STER franchise is approaching its 20th anniversary in roughly two years. By any reasonable measure, this is an impressive longevity for an otaku property that has remained active throughout this entire period. It raises the question of whether franchises like Gundam or Macross are also considered “otaku properties” in the same vein. Million Live acts as a crucial connective tissue, linking 765Pro to the broader “Profit” aspect of the franchise, necessitating a delicate balancing act.
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My viewing of Miriani was far from impartial. However, I also didn’t approach it as a hardcore fan, as I only saw episodes 1-4 in theaters. Fortunately, these were the episodes featuring Matsuri, which was personally satisfying. As an event-going P, episodes 9-12 were particularly crucial, as Million Live’s 10th Tour Act 3, which I attended, heavily referenced content from these episodes. The implications of attending Act 3 without having seen the final episodes are likely clear by now.
As a background detail, Million Live began its 2023 activities at Nippon Budokan. This indicates that the venue was booked at least a year in advance, and rescheduling to accommodate anime production delays was not feasible. The scriptwriter for Million Live reportedly began working on the project five years ago, highlighting the challenging circumstances. It’s understandable why they would choose to conclude the 10th tour at Budokan.
Beyond the unavoidable COVID-related disruptions, the primary factor concerning the Million Live anime, in my opinion, is managing expectations. For individuals with only partial knowledge of the franchise, their perception of Million Live might differ significantly from mine, leading to a complex emotional response. During its airing, I made an effort to watch it in real-time streaming and again after Crunchyroll acquired the license. Every Saturday at 9:45 pm Eastern time, I would try to rewatch it with subtitles, though travel and other commitments sometimes interfered. It became a show I watched at least twice a week, with some episodes being viewed even more frequently.
In this regard, I want to commend the production team at Shirogumi and all the key staff members. The show held up remarkably well under repeated viewings. While I won’t delve into the intricacies of its production, the linked threads offer insights. From my perspective, the animation was visually appealing and demonstrably crafted with care. The animation went above and beyond, not just in terms of homages or references, but in its overall execution. Even if those specific elements weren’t paramount to me, excellent animation is always a pleasure to behold.
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What truly resonated with me was seeing the characters brought to life as actual anime characters, as they rightfully should be. What is IDOLM@STER MILLION LIVE! at its core? Did it not first gain substance in the shadow of the original anime and movie? What were the Greemas character designs based on? What about the animation in Theater Days? This is the fundamental identity of the brand for me. Witnessing it manifest in animated form is the most significant aspect of Miriani. I rewatched the early episodes numerous times, which is why the grand finale, while not inherently bad and visually impressive, didn’t hold the same weight for me.
This is also why the ultimate direction of Miriani was personally disappointing, despite its numerous successes. However, it’s important to note that what exists is still something I cherish and enjoy. We all have the freedom to accept or reject it.
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If you do choose to engage with it, the “rehabilitated” Million Live tells a story of legendary girls who, through their efforts, ascended from novices to idols worthy of the 765Pro mantle. It draws upon the lore that 765Pro has meticulously built over the years. This narrative forms the heart of the anime. As I’ve stated, the Million Live anime is about Million Live itself, which embodies the IDOLM@STER brand centered on feelings and emotions.
The integration of homages and references presents a continuous challenge. While many references are acceptable, some crossed a personal line for me. A primary reason is the differing interpretations and acknowledgments of what these historical moments truly signified. For instance, Koroazu’s inability to attend a show due to illness would have been a more poignant and personal reference, told from the idols’ perspective, than the “Sentimental Venus” reference in episode 12. While the “Sentimental Venus” segment in episode 12 was acceptable, its recreation in Act 3 felt like a step too far. Celebrating a mishap or unfortunate event from another’s performance, even by coincidence, in a real-life concert can be perceived as insensitive. While it might have been a significant moment, it’s perhaps best left as a memory rather than an attempt at recreation.
This leads to another significant criticism: Million Live excels at various impressive feats but sometimes does so at the expense of individual character development. While it’s a story about togetherness, the constraints of time limit extensive individual characterization. This doesn’t mean Miriani lacks character development; rather, it’s not the primary focus of the narrative or theme. It’s fair to say Mirai didn’t undergo significant personal growth as a character within the show. However, this overlooks the transformation from a helpful neighborhood girl in episode 1 to a fully realized idol by episode 12, driven by the production process. This is the quintessential essence of IDOLM@STER, and the U149 anime is perhaps the only other animation that has exemplified this so effectively.
The character development that did occur served to deepen emotional investment, particularly with the theater opening and the subplot involving signal lights. It facilitated connections with the girls dealing with father issues and helped establish a link between Tsubasa and Miki. However, this development was limited and acted more as a supporting element rather than the driving force of the narrative. It’s almost “fair” in a sense, but the fact that Matsuri and her ministers received almost as much spotlight as Tsubasa strikes me as humorously equalized. Whether this reflects a democratic or communistic approach, I’m not complaining; I’m merely pointing out the amusing balance the anime maintained.
This is also why I disagree with the advice suggesting that one must watch older IDOLM@STER works to understand Miriani. I don’t believe it’s necessary. The anime is thoroughly designed for the present, and there’s no inherent need to watch a decade-old movie to grasp its context. While doing so can be enriching, it’s entirely optional. The primary purpose of the Million Live anime is to witness animated idols engaging in idol activities and undergoing production. Any expectations regarding intricate storytelling are merely baggage that may or may not enhance the viewing experience.
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Despite the challenges of balancing numerous idols within these constraints, Miriani achieved a remarkable feat: it successfully translated characters from a free-to-play content-driven game into anime after a decade of existence, without compromising their essence. I credit the lovingly crafted animation, which skillfully leveraged the characters’ distinct traits (like Akanechang). There isn’t a singular, central canon upon which to build a Million Live universe; rather, it’s a confluence of various game events, stories, comics, songs, and producer-specific lore that have fused into this work. Respecting all of these elements is a significant undertaking.
Witnessing my idols come to life is an incredible experience, and through it, I received the “thank you” from the cast and staff for being a Producer all these years. If my “thank you” is what it takes to receive a “welcome” in return, then I know what I must do.
