UlasanAnime.com – The existence of human beings is often fraught with paradoxes. One such paradox arises within the fandom of iDOLM@STER (iM@S), where the act of fans “shipping” producers with their idols can, uncomfortably, echo the exploitative relationship between a pimp and prostitutes.
The author finds themselves increasingly drawn into the iM@S fandom, acknowledging the enjoyable nature of this descent. However, this immersion also brings to light aspects that cause discomfort, with the producer-idol shipping being a prominent example. It’s suggested that idol fan culture, in general, may carry a degree of toxicity, a sentiment echoed by conversations with fans of other idol groups like AKB48, and observed in the US idol fan culture as well.
Despite this toxicity, idol fandom, much like artificially flavored and preserved treats, possesses a robust appeal that often caters perfectly to individual preferences. The author posits that this toxicity isn’t entirely without its benefits. Japanese-style idol fandom, for instance, seems to thrive on projection and shipping, which conveniently aligns with the industry’s “no dating” policy. This is particularly advantageous when idols are unable to act independently, as is the case with animated characters from video games, allowing fans to creatively direct the idols’ narratives.
However, the author questions the value proposition of fan creations, suggesting that one might not always receive what they pay for. The experience of purchasing iM@S2 DLCs on PS3 is described as feeling like a rip-off, even for relatively inexpensive items like addon songs. The author likens it to being tricked into an act their parents would disapprove of, not due to the nature of the game itself, but because of the perceived waste of virtual currency. This sentiment extends to much of idol fandom, where the author feels the common practice is a “free taste” followed by a demand for extensive financial commitment.
It is within this context of questionable value that the author navigates their engagement with iM@S. While the temptation to spend lavishly on DLCs exists, the author finds it a less “fair” proposition compared to purchasing the entire iM@S anime on Blu-ray. This perspective explains the author’s decision not to buy the ¥20,000 PS3 limited edition box set, their hesitation regarding older iM@S CDs (prioritizing animation masters and Best Ofs), and their contemplation of engaging with the back catalog or M@STER versions of tracks beyond the core video game experience. The author questions what iM@S truly is, pondering if it’s solely the game, the anime, or the music.
This line of questioning leads the author to anticipate the 7th Anniversary concert on Blu-ray, viewing it as a more traditional and legitimate form of idol entertainment. Just as AKB48 performs almost daily, providing fans with a direct avenue to spend money on entertainment, the author sees this as a more appropriate model for idol engagement. While acknowledging that they will likely continue to spend on iM@S merchandise (having already spent more on figures than DLC), the author emphasizes the need to re-evaluate what being an idol truly signifies in contemporary times. The core question posed is: when did iM@S transform into a system designed primarily to extract money from fans, facilitate shipping, and emulate the practices of other fandoms like Touhou? The ultimate query revolves around the intrinsic worth of this phenomenon.
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