UlasanAnime.com – Otakon this year proved to be a remarkable event, exceeding expectations despite some initial apprehension due to behind-the-scenes insights. The convention truly shone with an exceptional lineup of voice actor guests, making it a standout year.
With five Japanese voice talents gracing the event, Otakon significantly surpassed its usual average for guest appearances. The inclusion of two esteemed voice actors older than the author suggests a thoughtful approach by Otakon to cater to a diverse and perhaps more mature audience. Among these distinguished guests was Ikezawa Haruna, a figure often described as a “literary princess” who has transitioned from voice acting to a prominent role in the science fiction literary scene. Her ability to articulate complex cultural notions with a brand-ambassadorial flair was particularly impressive, reflecting a deep engagement with the world of voice acting and science fiction literature.
Ikezawa Haruna’s panels were a highlight of the convention. Her science fiction literature panel, co-hosted with long-time Otakon chair Jim Vowles, offered a unique platform for discussion. It was noted with amusement that attendees were initially hesitant to bring up SF literature when prompted by Ikezawa. However, she skillfully navigated the conversation, sharing insightful thoughts on generative AI, labor, and the concept of “kawaii.” Her extensive reading was evident as she recommended several Seiun Award winners and even reminisced about the now-defunct Haikasoru imprint, a sentiment that resonated with those familiar with its impact on the genre.
The “kawaii” panel provided a fresh perspective, with Ikezawa exploring the concept and character creation from the unique viewpoint of a voice actor voicing mascots. This approach transcended mere biographical accounts, delving into an academic and abstract discussion enriched by real-life examples and audience participation. The author humorously mused about the appeal of having such engaging discussions led by “cute seiyuus” rather than law school professors.
Ikezawa’s contributions alone made the convention a memorable experience. Otakon has consistently positioned itself as a more intellectual gathering compared to typical anime conventions, attracting creators who deeply engage with their respective fields. The quality of content delivered by its Japanese guests, exemplified by past panels from figures like Kawamori, further solidified this reputation. Ikezawa’s presence was a perfect fit for this environment. On Sunday, she joined MX dubbing legend Mario Castañeda and Bethan Walker, the UK voice of Alisaie from FFXIV, for a “dubbing-around-the-world” panel. While more spontaneous, this session offered valuable insights into international dubbing practices for those unfamiliar with the nuances.
Another notable senior Japanese voice actor, Iwao Junko, shared her life experiences in a captivating panel on Sunday. Her storytelling journey from her early career to the present day was met with great appreciation. A particularly touching moment was her rendition of the lullaby from Card Captor Sakura, a beautiful gift to the early Sunday morning audience. The author also referenced a point Iwao made about “Shine Post” in a separate discussion. Regrettably, prior work commitments on Friday limited the author’s ability to attend all of Iwao’s sessions.
The excitement continued with TMS Entertainment’s delegation, featuring the editor of the “Four Knights of the Apocalypse” manga and two voice actors from its upcoming anime adaptation. This series serves as a sequel to the popular “Seven Deadly Sins.” The opportunity to interact with Nakamura Kanna was a delightful experience, and the author was thrilled to obtain an autographed item. This led to attending all of TMS’s presentations, which, while basic in their note-taking, were generally well-received.
A fellow convention-goer, with whom the author connected over their shared enthusiasm for “Narita Top Road,” further enhanced the experience. The interactions with Nakamura Kanna and the anticipation leading up to the convention contributed significantly to the overall joy of the event. Recognizing Nakamura as a newer voice actor, the author expressed hope that the fans provided her with positive memories of her interactions.
The author’s experience was somewhat curtailed by having to work one of the three days, leading to missed opportunities. This included skipping the creative team panel for the “Quints” anime and the chance to see Watari again. The “Yaiba” concert was also missed, likely due to the necessity of finding time for meals amidst a packed schedule.
Even the panels involving Kawamori and Macross were nearly missed. However, a brief attendance at a panel featuring Kawamori and Aramaki offered insights largely in line with expectations, including a decent Q&A session. In relation to Macross, the author acquired some Big West-authorized Macross Delta merchandise, including a Mylene badge, a Walkure badge, a VF31 pin, and two YF19 pins.
Idolspace, Otakon’s dedicated track for indie idol content, proved to be an engaging experience. This year featured an expanded program with shows running late into the night, including a separate idol performance. The author found Phoebe to be an amusing figure and also witnessed a friend perform. The Aniwaza wotagei group’s energetic performances added to the vibrant atmosphere of Idolspace, highlighting the unique blend of “chikaidol-driven wota stuff” distinct from typical otaku event music.
The convention also provided opportunities to connect with familiar faces like Dave from Games of Robo, as well as others involved in autographs and the GR circuit. A humorous moment was captured and shared via a tweet.
Despite the initial concerns, Otakon delivered a rich and fulfilling experience. The convention’s organization allowed for a smooth flow of activities, alleviating worries about potential conflicts, such as TMS blocking access to Uma autographs. Even autograph sessions were notably less crowded and more efficient than in previous years.
Ample time was available for socializing with friends, including an unexpected but enjoyable encounter with Sujay. These moments fostered a sense of camaraderie, reminiscent of the anticipated “party-with-friends” atmosphere for an upcoming event in Vancouver. The author expressed deep gratitude for all the people they had the chance to spend time with.
On a more personal note, the author acquired more merchandise shipped home than purchased directly at the convention’s dealer room. While crowded, the layout of the dealer room was well-managed, preventing it from feeling overly cramped. The Artist Alley was also pleasant, though nothing particularly caught the author’s eye, beyond the occasional “bunny Karin” from Blue Archive. Total spending on merchandise, including a collapsible penlight from YeahLights, the con shirt, and items from the Macross booth, amounted to approximately $100.
Regarding food, a return to a local Cuban establishment on Sunday provided a satisfying, albeit unphotographed, meal. The author noted the impact of inflation on dining costs. Convenience also led to dining at The Dignitary. The primary culinary adventure took place at Busboys and Poets, a well-regarded soul food chain with apparent African influences, where the fried chicken was particularly praised.
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A post-convention note indicates that an Anime Expo recap is forthcoming, contingent on the completion of watching “ML10th act 2.”
