UlasanAnime.com – In an era where terms like “Stan” and “Waifu” are prevalent, the expression of affection and dedication has evolved into numerous forms. While historical methods of categorization existed, today’s landscape offers an unprecedented variety of ways to convey similar sentiments.
A recent realization has illuminated a practical distinction within the IDOLM@STER fandom: the difference between identifying an idol as one’s “tantou” (the one in charge) and simply having a “favorite” idol. For some producers (Ps), these terms are interchangeable. For others, they represent distinct concepts. From my perspective, neither approach is inherently incorrect.
“Tantou” signifies a position of responsibility, where a producer is tasked with overseeing a project, which in this context, involves an artist or idol. It’s common within IDOLM@STER content for a producer to be assigned a project where specific agency artists are chosen to participate. Engaging with Japanese producers reveals that “tantou” is the appropriate term for referring to one’s preferred fictional idol, regardless of one’s online presence or social media habits.
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However, there are technical nuances to consider. Fundamentally, IDOLM@STER is a game franchise where the player assumes the role of a producer. The idols whom the player selects to produce are, in essence, the idols they are producing. This can encompass all idols within the game, potentially even more if one considers characters not explicitly featured in the game, or it can be limited to whatever the producer desires.
Extrapolating this concept from in-game idol selection to broader engagement, the idols I choose to produce are those for whom I actively seek more information, conduct research, contemplate, and create content. After all, “producing” a fictional character is largely an act of dedication and creative output. This mirrors the general act of “stanning” an individual, though subtle differences may exist, perhaps warranting a separate discussion.
Conversely, idols from IDOLM@STER whom I simply like do not necessarily fall under my “production” umbrella. For these characters, my engagement might be limited to enjoying the content they are featured in.
This distinction becomes particularly apparent during large-scale IDOLM@STER live events. While your favorite or “tantou” characters might only feature in a portion of the show, your engagement often extends to the entirety of the content, even if it doesn’t directly involve your preferred idols or has minimal connection to them. While there might be moments where you’re less actively involved, a concert or a show, in general, remains an enjoyable experience to witness and be a part of.
For instance, while I do not “produce” Syoko, I hold significant respect for the Matsuda twins and possess an affinity for the rock music genre exemplified by X Japan. This is precisely why the cover of “Kurenai” during CG7th Osaka was a personally profound experience, especially considering the venue, the stage setup, and the overall unfolding of the event. These factors were the driving forces behind my attendance in the first place.
My involvement with Cinderella Girls dates back to my initial introduction at MOIW 2014. What strikes me as peculiar now is that despite finding many idols from 346 Production personally appealing, I have no desire to produce any of them. This was a significant reason why I stopped playing Starlight Stage, and it has also made the franchise more manageable by treating it as a collection of content that occasionally delivers impactful moments, maintaining a certain distance.
I still make an effort to attend a live show annually, as I genuinely enjoy this branch of IM@S and retain a certain level of knowledge about it. Furthermore, my passion for seiyuu (voice actors) remains, and IDOLM@STER content consistently offers some of the most compelling seiyuu-related material available. IM@S live shows, across all its branches, are typically elaborate productions. Cinderella Girls concerts stand out as the most elaborate, owing to the franchise’s commercial success and popularity, as well as the inherent style of its content, which lends itself to grand, vibrant, and large-scale productions. The fact that the franchise has recently been hosting dome-sized shows aligns perfectly with the strengths of its content and material. This is contrary to my usual preferences; I generally view domes negatively, as they place attendees far from the action, are often overcrowded, and typically suffer from subpar acoustics and views, not to mention uncomfortable seating.
On paper, I might describe myself as a Miho/PCS producer at best, primarily because I do invest in them. I also find myself gravitating towards Tsuda and Tanezaki concerning my seiyuu preferences among the 346 Production cast members. This is a production driven by convenience. However, my production efforts are far more extensive within 765Pro, where I hope my actions speak for themselves.
