UlasanAnime.com – This article delves into the business models and franchise positioning of two prominent idol anime franchises, Love Live! and The Idolmaster (IM@S), exploring what makes them distinct and how they appeal to their respective audiences.
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The author initially contemplated a panel discussion on this topic for Otakon but found the programming rejected. The exploration is primarily approached from a business model perspective, questioning the core identity of these franchises: are they simply cartoons, cartoons featuring idols, or cartoons where idols are the central theme? A key element inevitably discussed is their “media mix-ed-ness,” which naturally leads to a business-focused conversation.
One method considered is comparing various well-known “idol anime” scenarios to glean insights. A significant distinction between Love Live! and IM@S lies in their foundational business structures. IM@S began as a video game franchise with numerous spin-offs, while Love Live! is described as embodying the idol concept from its earliest iterations.
The article aims to highlight and examine why Love Live! appears to be a franchise more appealing to women. This begins with understanding its premise. The author notes that more women attend Love Live! live events compared to most other 2.5D idol events featuring all-female casts. This observation prompts a comparison with the female audience of other media and raises questions about the significance of live event attendance. The author contrasts this with IM@S, a video game franchise that emerged during the decline of the arcade scene. An informal poll conducted during the UNMEI Live CD singles bonus Blu-ray viewing showed only about 10% of hands raised for a particular question, a figure the author estimates to be similar to attendance at SSA in February, and potentially worse for the smaller 2013 live shows given the difficulty in securing tickets.
However, the author admits that this is as far as the analysis can go. An argument could be made that Love Live! successfully captures the “utahime” (singer) feeling, offering a modern take on the “I want to grow up to be an idol” aspiration, incorporating more Niconama streaming and less of the “Fancy Lala” style. Yet, this remains an interpretation of the narrative. It doesn’t necessarily explain why these stories resonate differently, as IM@S also presents similar narratives that can connect with both male and female audiences. The author expresses a desire to read doujinshi from circles that have conducted similar analyses.
Other readily apparent differences exist in this comparison. The depth and extracurricular context surrounding IM@S, partly due to its longer history, contribute to fostering certain fan behaviors while also potentially deterring others. This can lead to unintended barriers and “maniac” behavior within the fandom, often manifesting as intimidation rather than inaccessibility. For instance, the author notes the experience of being in a crowd of grown men jumping to the rhythm can be intimidating, even for someone new to the situation, let alone those with other concerns. Love Live!, having started from scratch a few years prior, faced fewer pre-existing obstacles beyond the established “wota” culture norms.
The author also briefly mentions the quality of a live 2-BD set, suggesting it offers a preview of “next generation powerhouses” like Koroazu, Machico, Yuiton, and Mocho, and humorously nicknames “Tenchan” as “10ch.” A link is provided to a list of voice actors for further information.
