UlasanAnime.com – Otakon this year came and went in a whirlwind. It marked the first stop for this eventer, with a train theme last year and a “30” theme this year, acknowledging it’s not yet the 30th anniversary but rather 30 years. The author has a packed schedule ahead, including Anirevo next week, Spirit of Japan in Miami after that, AnimeNYC at home, and finally Anisama to conclude the month. This rapid succession of events necessitates a quick recap.
The guest list for Otakon this year was notably impressive, so much so that it was impossible to see everyone. The author missed most of the male voice actors from Blue Lock, though they were able to see some from afar at the autograph area. For fans of female voice actors, Uchida Aya was a major draw, with some friends traveling from across the country specifically to see her, appreciating her fun, cute, and entertaining personality.
Uchida Aya was quite open during her panels, making them enjoyable. Her second panel featured a travelogue of her recent visits to major Japanese theme parks and onsens in Gunma, as well as a Slam Dunk pilgrimage in Kamakura, a series she is clearly a huge fan of.
Her first panel summarized her career as a voice actress, with fans posing questions for about 20 minutes. The second panel, focusing on her travels, was cut short due to technical issues, leaving only about 12 minutes for Q&A. During this brief Q&A, attendees primarily asked for more recommendations for their own trips to Japan. Despite the short duration, Uchida handled the situation gracefully, while the fans’ reactions were described as “cringe.”
Additionally, Uchida Aya actively engaged with the convention by visiting various areas, including the idol space on Friday, which was a welcome sign of her involvement.
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A local friend arranged for a flower stand and banner at Otakon, which was displayed at another friend’s booth. While this arrangement worked, it presented the usual logistical challenges. The author expressed mixed feelings about flower stands at US conventions, suggesting it would be beneficial if more conventions provided dedicated spaces for them rather than relying on individual efforts.
The main point of contention at Otakon this year was the autograph process and the management of attendees seeking autographs on Funko Pops. This led to the implementation of acrylic windows on shikishi and confrontations between staff and individuals attempting to circumvent the rules. The situation resulted in frustration for both Funko Pop collectors and other fans who were displaced, leading to general unhappiness with Otakon’s crowd management methods. While not the worst system, it lags behind improvements seen at other conventions, leaving Otakon’s approach feeling outdated. This issue is particularly significant for those who attend free autograph sessions at major, long-standing conventions.
Beyond the band Flow, the author felt that this year’s Otakon was similar to the previous two. While there were some notable guests, the majority were considered merely “okay.” Hirasaka Yomi was mentioned as a significant guest this year, though engaging with introverted light novel authors at an anime convention presents unique challenges. The author noted the enjoyment of seeing these creators experience an overseas event for the first time. The creator of series like Haganai, Imosae, and Hensala attended primarily to promote Gifu in his first panel, and the author was unable to attend his other panel due to scheduling conflicts. The author also expressed disappointment at missing the Yurucamp season 3 panel entirely.
Other notable experiences included seeing Korean cover song YouTuber Studio aLF briefly and taking selfies. The author also met Yoshi of Orange and his animator, enjoying the opportunity to get an autograph. A cheki event with Uki Satake was attended, where the author spoke with the organizer of the idol space activities. The cheki event involved taking photos, decorating them, and socializing over snacks and drinks. The author admitted to being poor at decoration, so Uki Satake assisted. Despite attempts at banter, the interaction was limited. The author also attended the Flow concert, which was a sold-out event, and briefly attended the VIP event before leaving early.
Otakon 2024 introduced minor changes to facilitate access to the dealer room and artist alley, opening both areas for transit. However, an hour-long delay in the morning to reroute crowds through the dealer room’s far entrance was implemented. While understood, this added unnecessary walking, especially for those with early autograph sessions.
The convention saw an increase in attendees, exceeding 46,000, a few thousand more than the previous year. Despite the higher numbers, the experience of entering and exiting the con did not feel significantly different, with minimal lines. Staying at the Marquis hotel, the only indication of increased attendance was longer elevator waits. The author participated in an impromptu board game event at the hotel bar, Dignitary, on Saturday night and received updated seiyuu name jokes from a friend, which will be shared later.
Although the author did not attend the artist alley this year, they did walk through the exhibit hall, which appeared larger and more crowded than before. However, the perceived quality was lower, partly due to a lack of standout corporate booths. Many vendors were selling lifestyle products, which were not of particular interest to the author. The increase in such vendors was noted as a potential overall positive for the convention. A significant inconvenience was the Otakon merchandise booth, which had only four registers, insufficient for the demand for the special 30th-anniversary merchandise. In terms of merchandise, Otakon has finally reached parity with other conventions.
The author’s overall sentiment is that Otakon 2024 requires modernization. The autograph system, while functional, is deemed unnecessarily complex, with a suggestion to leverage the internet. The current methods are considered appropriate for 2008 but not for 2024, reflecting the need to adapt to changing times. The guest list could also be enhanced with more “splash guests” to give Otakon more appeal.
The Otakon 30th exhibit space was observed but not entered, as the author has seen similar museum displays in previous years and has attended most Otakon events since (except 2021). The author felt that entering would have served as a reminder of how Otakon used to be great but is now just “mid.” While acknowledging the difficulty of running a successful convention, the author believes Otakon is in need of renewal.
In a postscript, the author mentioned attending both Thursday and Friday night anikura events hosted by the Aniparty/Aniwaza group, describing them as good times held in a lively part of town. The author expressed excitement about finally visiting Aslin beer.
