UlasanAnime.com – This article presents a collection of thoughts and reflections concerning the Million Live! franchise, inspired by recent events such as the ML4th anniversary and anticipation for the near future.
0 WELCOME HOME KOTOHA
The coming months are poised to bring exciting developments and a surge of enthusiasm for Million Live!. A significant aspect of this upcoming period is the return of Kotoha to the project, marked by the reappearance of her voice actress. The announcement was handled with a fitting sense of occasion, serving as a pleasant surprise for those who logged into the game shortly after midnight JST to explore the new “audio-group by song” feature in Theater Days.
For those unfamiliar with the significance of “Kotoha’s return,” it pertains to the hiatus taken by Tanaka Kotoha’s voice actress, Taneda Risa, in late 2016 due to health concerns. Her return to the industry late last year meant she was unable to participate in Million Live! events or voice her character during her absence. Consequently, Theater Days launched without Kotoha, and her inclusion in the game only just occurred. Her first notable roles since her return included Shoukaku and Zuikaku from Azurlane, and reprising her role in the Gochiusa movie. Further details about Taneda Risa’s involvement with Million Live! can be found in the context of Million Live! 4th Anniversary Day 3.
Kotoha’s return has also contributed to the extended time spent finalizing this post. Therefore, consider this preface a warning regarding the duration of effort invested from the initial writing to its publication.
1 BlueMoon Theater is full of crybabies
This sentiment is evident when observing the backstage footage from Million Live! 4th Anniversary or listening to Yukiyo’s commentary regarding Jireha.
2 Dreamers, dreaming
The Japanese idol culture, from my perspective, functions as a marketplace or a battleground of ideas, personas, and characters, where groups present their best efforts to achieve success. The concept of the “girl next door” becoming an idol is liberating, not only for those pursuing this path but also as a means to inject vitality into the often stagnant and narrowly curated imagery prevalent in mainstream Japanese entertainment. This observation doesn’t define what idol culture is or isn’t, but rather represents a personal viewpoint. The sheer scope of this phenomenon allows for diverse perspectives, though some viewpoints may disproportionately dominate.
What further fascinates me about the current era of idol culture is its enduring vibrancy, even more than a decade after the inception of the Akimoto-brand idol teams. There’s a palpable energy and youthful power, even within the more refined landscape where underground and semi-underground brands compete. The culture spans a wide spectrum, from low-end performances reminiscent of anime conventions and cosplay cafes to acts like Perfume. The establishment of successful models by entities like DearStage has broadened the possibilities, encouraging numerous businesses and groups to experiment, even if many endeavors are short-lived.
When considering seiyuu idols within this context, the landscape shifts significantly. The profession of a seiyuu in Japan is unique; it evolved from roles for stage actors and performers, and side projects for stars and entertainers, into its own distinct career. Compensation is often modest, and many who exclusively work in otaku media find themselves pursuing other avenues later in life if they cannot transition into more established careers. The industry faces a considerable challenge: unlike on-camera acting, where attractive faces may age out of younger roles within 5-10 years, this limitation doesn’t apply to voices. Older actresses in their sixties can still voice teenage and child characters, and there are actual teenagers and children pursuing voice acting. This creates a competitive environment for newcomers vying for roles against seasoned veterans who have honed their craft over decades, and even their former students.
The situation, which can be viewed as either amusing or disheartening, is that more individuals are seeking to enter the industry than ever before. This drive stems from a genuine desire to be a seiyuu and an inclination or talent for acting in general. The current landscape thus favors this particular trend for seiyuu idols. It’s a niche that may be less competitive to enter initially, but it demands at least the appearance of youth and stage-level performance ability, raising the bar against both the broader seiyuu pool and older/veteran seiyuu. Even if these perceived differences aren’t substantial in reality, the expansion of this field does create additional job opportunities.
The proliferation of gacha-style mobile games in Japan aligns perfectly with this trend, as these games represent a larger-budget iteration of such idol units. While developers and publishers now hold the reins, production still occurs in a manner that allows businesses and professional relationships to leverage their value-adds. The fact that successful games can feature dozens upon dozens of character voices on an ongoing basis is quite impressive and, in a way, novel for seiyuu careers outside of long-running cartoon franchises and their associated media.
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Returning to Million Live!, it is an intellectual property where the characters are idols, and thus the actresses portraying them are, in essence, performing as idols. This acts as a form of persona or a protective shield. It’s comparable to how Hikasa Yoko embodies Mio from K-ON! versus her solo music artist persona; the former projects a charismatic rock and roll image, while the latter reflects what one might expect from seiyuu artists of her nature. Adopting the mantle of an IDOLM@STER idol is essentially the same, with the added dimension that it is likely more closely aligned with the actor behind the character. The actors still operate within the confines of the characters and their settings, but these limitations offer a form of protection, fostering freedom and liberation for the actors to excel in their roles.
Furthermore, the IDOLM@STER mantle carries significant weight. While Million Live! may be a spin-off on paper, it embodies the hopes, dreams, and, crucially, the future for fans of the core franchise.
3 Million Bench
I perceive Million Stars as being divided into three tiers, primarily based on the frequency of performers’ appearances at events. Tier one performers are consistently present, while tier three idols make rare appearances. There are the regulars, such as the traffic light trio, and many of the prominent seiyuu artists. Tier two consists of familiar yet less frequent faces, often representing the more conventional seiyuu archetype. Finally, tier three comprises those who seldom appear at events. While not a rigid classification, Hamasaki Nana and Harashima Akari serve as prime examples of T3, and Suwa Ayaka and Inagawa Eri are T2s. The cast that appeared at IM@S 10th generally falls into tier one.
This situation isn’t inherently problematic, as the AKB model of idol groups, which Million Live! conceptually draws from, naturally leads to some idols receiving more exposure than others. While Million Live! doesn’t have distinct teams like that, the outcome is somewhat similar. This disparity isn’t necessarily about merit but about opportunity. The reasons for some seiyuu appearing less frequently are varied, beyond the practical limitations of venue and time for every event, which also undoubtedly impact budget. Those who receive consistent and frequent exposure likely benefit from existing relationships with producers and are often more prepared for such opportunities. There’s a symbiotic relationship where acts like Trysail can launch themselves with Million Live!’s support, and conversely, after five years, more successful acts can also draw fans to Million Live!.
4 Uncharted Territory
Million Live! celebrates its fifth anniversary this year. In terms of standard seiyuu union pay scales, this signifies no longer being a newcomer. In the context of franchises, five years is a considerable duration. In the realm of the internet, five years is an eternity.
The news last week regarding Yamazaki Haruka’s debut as a solo artist underscored that many of the franchise’s leading performers are now engaged in some form of musical endeavor, either as a side project or as their primary focus. From a seiyuu’s perspective, embarking on a solo act has traditionally been a gamble with infrequent payoffs. This is neither surprising nor unusual, as the music business operates on different principles and typically capitalizes on an idol’s core fanbase. Few achieve wider recognition, and those who do face a long and arduous journey. After all, numerous individuals compete for the same opportunities outside the seiyuu arena and can dedicate more of themselves to it. But what does this signify?
I recall the backlash from IMAS2 at TGS, even though I wasn’t a Producer then. The outcry was loud and persistent. IDOLM@STER is a groundbreaking franchise, but its prolonged operation has led management to make its share of mistakes, and I don’t anticipate this trend ending. Therefore, as with all new developments, realism must temper expectations. I do believe something is planned for Million Live! this year that will help us overcome this challenge. Perhaps it’s the anime, however improbable that may seem, but something is expected.
5 Million Live Scheduling
After approximately four years of participating in IM@S events, certain patterns have emerged. Million Anniversary live performances consistently occur in the Spring. 765Pro holds its events in the Winter and/or Summer. Cinderella typically hosts theirs mid-year, from Summer to Fall, especially now that it has gained significant popularity and can fill that entire period with live shows. SideM appears to schedule theirs in late Winter, though this can sometimes overlap with Million Live!, as both may tour and then run from late Winter to mid-Spring.
With that in mind, Million 5th is scheduled for the first weekend of June. We still have about four months remaining. Theater Days typically features around two and a half Platinum Star type events per month, meaning approximately nine events are expected before Million 5th. With Kuraki Tsuki, they have deviated from the norm by introducing new “Generations” line songs, such as the three traffic-light color Tour events. Almost anything is possible now, especially since the same idol can appear in multiple events (e.g., Megumi). However, this isn’t a significant concern.
Examining the CD release schedule, the remaining volumes of the M@ster Sparkle series are due by late May, with volume 6 released this week and approximately three-week intervals between each release. The schedule for the The@ter Generations line is less clear, though it began with the Idol Heroes promo at Million 4th and is likely to conclude around the time of the 5th anniversary. The The@ter Boost material may also fill the schedule, with further details expected next Wednesday during a livestream that will announce winners and other major updates.
The return of Million Live! to SSA promises a spectacular show, as this venue is increasingly becoming a regular performance space for IDOLM@STER and Team Jungo.
6 Respect
Million Live! is somewhat of a running joke within the IDOLM@STER sub-franchise. This is not the worst position to be in; 876pro is largely forgotten today, relegated to obscure trivia for those seeking to demonstrate their knowledge of IDOLM@STER (similar to Xenoglossia, though that was an actual anime). I would prefer being the subject of “an anime being made” joke rather than complete obscurity. What’s humorously concerning is that with the announcement of 283Pro this week, it’s not inconceivable that it might receive a TV anime before Million Live!. That said, older rumors suggested a Million Live! anime in 2018 or later, and we are currently in 2018, so it remains a possibility. I simply wish people would show a little more consideration for our feelings in this regard, LOL.
Regarding Shinymas/283Pro, it’s too early to definitively say, but the purpose of the nama (live stream) is to establish expectations and set the stage for subsequent announcements. We have at least a couple of months before further developments.
7 True Strength
I’ve always believed that the performers are what make Million Live! a franchise worth my time, attention, and financial investment. The series’ direct connection to the core 765Pro unit, which initially drew me to IDOLM@STER, was also a significant factor. However, as I quickly learned, Million Live! is a distinct entity. During the Greemas-only era, I didn’t fully grasp what made the franchise compelling. Yet, my conversion was swift once I witnessed their live performances, even if only through a Blu-ray.
It feels akin to embarking on a long, winding journey through a forest on a mountain, only to emerge onto the other side and witness the landscape unfold. “Ah, this is why I am here,” one might think, as the scenery opens up and the trees give way. This is the true strength of Million Live!: these fresh seiyuu idol acts, performing live with all their hope, dreams, and training, some of whom possess considerable talent, comparable to mainstream artists.
My inner seiyuu otaku still favors certain aspects, such as a playful persona behind a distinctive and emotive voice. While this doesn’t always guarantee jobs, someone like Kiritani Choucho exemplifies this. The seiyuu industry is indeed filled with individuals striving to sustain their dreams. I appreciate all the seiyuu in the series to some extent, recognizing both the art and the craft involved, even if these elements aren’t typically what attract fans initially.
8 The wall is taller than ever
The hiking analogy is metaphorical, representing both the rewarding and laborious nature of ascending the “wall” of IDOLM@STER fandom. I felt this in 2014, and that wall has only grown both wider and taller. The positive aspect is that scaling certain parts of this wall has become easier than ever before. There are now more individuals who actively engage with IDOLM@STER in local languages compared to four years ago. Many understand the core concepts through other series, even if their entry point is only a small facet of the complete picture. The allure has increased with more attractions like Deresute and Theater Days. Furthermore, the mainline PS4 games are available in Chinese and Korean. Live events have expanded globally, reaching Hong Kong, Singapore, Korea, Taiwan, China, and even the United States. It’s remarkable to consider this progress from just four years ago.
The fandom has undeniably grown, which I perceive as a positive development overall. Its depth has also become more varied. While one doesn’t need to be an ArcademasP to appreciate the narrative of 765Pro’s journey from year 1 to year 10, they might not be aware of, for instance, Nicomas P Momozaki or the anecdote of Eriko hitting her head with a cardboard box. This is perfectly acceptable in a world where one can be a Producer and focus on best practices, exclusively producing characters like Mika and Shiki. In this sense, it’s a conscious choice to delve deeper into the fandom’s intricacies, to ascend to greater heights, and to appreciate the panoramic views. Not everyone is a mountain climber, so not everyone needs to undertake such a journey, but the option is readily available.
9 Image Training
Although I cannot locate the specific link, it has been reported that Bushiroad’s CEO was inspired to launch BanG Dream! after witnessing Aimi perform Ryuuseigun with a guitar at MOIW2014. I anticipate a similar level of “cool band” performance at ML5th with the song “Star Trip.” The song incorporates relatively simple acoustic guitar chord progressions. The guitar solo in the bridge, unlike the complex style often found in nano.RIPE’s work (which truly shines in the outro with their signature sound), offers a different feel. Visualizing the arena with a spotlight on Aimi as she performs the initial section of “Star Trip” solo, accompanied by her long-time friend, would undoubtedly be a captivating experience.
It’s challenging to envision other songs at this moment, with the exception of perhaps “Kuraki Hoshi, Tooi Tsuki.” In fact, it’s the only other song that stands out. I imagine the usual lineup will rotate on stage, similar to the arrangements at the 4th anniversary event, featuring typical solos and other performances.
When Machico sings “Wake Up Wind” as a backing track during Tsubaki’s Sparkle solo, does it not sound like “Wake Up Pee”? For a while, we were unsure of the lyrics and only discovered their meaning after the CD was released by consulting the lyric booklet. Oh well.
