UlasanAnime.com – Anime Expo 2025 recently concluded, offering its usual blend of top-tier seiyuu appearances, anisong concerts, and late-night mahjong sessions. For attendees like myself, it’s also a prime opportunity to connect with fellow international Idolmaster producers and enjoy a meal at Yard House.
While “usual” might imply stagnation, the event has seen significant changes. Gone are the days of arduous camping for guest autographs. This year, a quick online search was enough to secure a spot for a Peach-Pit signing, a stark contrast to the past. This evolution, however, raises questions about the convention’s ability to consistently deliver a seamless experience for fans, industry professionals, and staff alike.
Despite these challenges, Anime Expo 2025 made notable improvements. The outsourcing of autograph management to Epic (now part of Leap) may have introduced some initial confusion, as reported by some attendees, but it ultimately led to a more streamlined process. Navigating the newly arranged JW ballrooms was a minor adjustment, and the reduced number of volunteers, while creating some communication gaps with hired staff, generally led to a more rehearsed presentation.
Crowd management saw improvements this year, with notable exceptions on the first day due to initial entry lines. The convention expanded its outdoor footprint, creating distinct food court and beer garden zones, some featuring stages. The inclusion of the Peacock Theater for larger events was a welcome addition, successfully accommodating significant crowds.
Attendance appeared to be on par with, or slightly higher than, the previous year. However, the sheer scale and spread of Anime Expo across the Los Angeles Convention Center (LACC) and LA Live made it challenging to gauge the overall crowd density. Navigating the vast venue, coupled with peak crowding at certain points, made a comprehensive survey difficult.
The dealer’s hall was more distributed than ever, spanning the South Hall (Exhibition Hall), West Hall (Entertainment Hall), and Kentia Hall (Artist Alley). This dispersal meant finding specific vendors, like Retro Saikou, required more exploration. The presence of various booths, from fan art sellers to Chinese mobile game exhibitors, created a diverse, albeit somewhat scattered, marketplace. Notably, Intel sponsored a gaming experience, signaling evolving brand partnerships.
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Anime Expo 2025 was filled with unexpected moments. While a surprise appearance by Mariya Ise at the Panty Stocking S2 premiere didn’t materialize, the event did feature a surprise appearance by Asami Seto at the Apothecary panel, joining the ever-present Yuki Aoi. The guest list of seiyuu was impressive, with notable appearances by Suguta and Sora Amamiya, whose “famous cheeks” made their US debut.
Scheduling conflicts prevented me from seeing Carin Isobe and Shimayuki, a scenario unthinkable just a few years prior. Their presence at the Proseka panel was reportedly a highlight, with the duo engaging in fan service.
My personal enjoyment of Anime Expo 2025 stemmed from several factors. The strong showing for Umamusume, an excellent “AWM” Jpop Sound Capsule show featuring Togetoge with a substantial number of songs, and reconnecting with friends were major highlights. The midnight mahjong sessions continued to be a standout off-kai event in the USA. Togetoge’s performance was particularly energetic, and having front-row seats provided ample space.
The enduring magic of Anime Expo lies in its ability to foster a collective contribution to a “village stone soup.” The convention itself often relies on the industry to provide the bulk of its programming and guests. While grateful for its existence, especially given its LA base, AX’s future at the LACC is uncertain, with Long Beach being the most viable alternative. The current setup, which leverages the LACC, LA Live, and nearby venues, creates an outdoor consumer-friendly vibe that works well in Los Angeles, provided long wait times are minimized.
Despite the significant audience at Anime Expo, the return on investment for Japanese (and increasingly, Chinese and other) companies may be diminishing. With attendance numbers potentially lower than other conventions like ANYC in 2025, and the immense competition for attention across the sprawling venue, the substantial investment by companies at AX remains a point of contemplation. This raises questions about what other events need to develop to capture a share of this market.
For businesses looking to establish a presence in the US, the annual tradition of AX might be a familiar entry point. However, diversifying their approach beyond Southern California could be beneficial. Given that 80% of Americans reside in the eastern half of the country, a strategic shift away from the heavily saturated Southern California market seems logical, mirroring anime’s own expansion decades ago.
It’s worth noting that ANYC’s increasing resemblance to AX in this regard is a concern. The hope is that ANYC will remain true to its roots and continue to prioritize unique offerings, such as anisong concerts beyond mainstream artists like Ado or Yoasobi.
PS. Congratulations to Kershaw on his 3000th strikeout.
PPPS. The Umamusume presence at Anime Expo was impressive. Cygames hosted a booth featuring large figures, crane games for prizes, merchandise, and long queues. While I didn’t partake due to the lines and time commitment, it was a significant highlight for the summer convention, coinciding with its peak popularity.
