UlasanAnime.com – The racetrack of my streaming thoughts runs like a loop, reminiscent of Microsoft Visual Studio’s logo, or perhaps it’s an Eternal Harmony I’m hearing. In an unending marketing machine designed to extract thousands from people, what truly defines success and failure? Is there inherent meaning in capitalism when “Art Needs Heart Beats” is the very product sold to an intellectual? Perhaps observing the creation process of Theater Days, where the hot dog factory operates on Unity for Android and iOS, is a more grounded approach. At least it’s not Union. Or Onion.
In this blog post, detailing my trip to Japan and attendance at Million Live 5th, I can discuss onions. I had to chop one to prepare curry and added a few pieces to the sukiyaki we enjoyed one evening. I also had a whole one left over, these beautifully carved marvels from Hokkaido, individually wrapped at the Petit Mart where I shopped. They were also surprisingly expensive. This note about onions is only relevant because my seatmate at the live event mentioned that he initially thought the song was called “Onion.” Is Union a downgrade? I’m no longer sure. The Unity conference was called “Unite,” which might be a more fitting term than “Union,” given its other connotations. It’s remarkable how a major software company can name things so appropriately. I mentioned this to my seatmate, noting it reminded me of the whole “resting Aqours” discussion, which I won’t delve into, except to say that voice actors are typically unionized, especially those affiliated with reputable agencies.
The lengthy digression about Union is merely that – a tangent. The new theme song for this year, to be released in Theater Generations 10, is quite cohesive, much like other flagship IM@S tunes. However, unlike BNT, there’s nothing particularly new or significant attached to it. Generation 10? Not even a new series? I suppose we have nine more Generations CDs to anticipate before next year?
Million’s 5th Live is likely significant in its role as a new gateway. It was the first major Million Live event that saw a considerable influx of new producers mingling with seasoned veterans. Within my immediate social circles, several individuals were attending their first IM@S live. Some might have been fans for a while, but there were definitely new event-goers among this year’s attendees.
Our post-day-1 gathering (uchiage) swelled to around 47 people. I had to cover for three missing individuals, despite assuring my “party manager” otherwise. Well, the endless loop of frantic thoughts typed onto a keyboard is hardly a place for passive-aggression; it disrupts harmony. The crucial aspect was that everyone had a good time, which was precisely what I had anticipated. The same can be said for the small get-together I hosted in an Airbnb. It might fall under the category of “illegal” accommodations according to the new minpaku law, as we noticed the listing being removed earlier this week. Nevertheless, a relaxed, laid-back house party in Japan was something I had always desired, and this time, it worked out more or less. It would have been considerably more challenging to arrange in a hotel, wouldn’t it?
The lead-up to the weekend was enjoyable. In terms of live-related preparations, hauling my laptop and portable hard drive across Japan proved beneficial, as I could directly transfer files to printers on-site for immediate review. The trip to the flower shop in Chiba was less enjoyable, as it disrupted our day’s plans and left me more exhausted. However, I did get to witness the creation of the flower arrangements. The shop we used also prepared two other stands for Million 5th, offering us a glimpse into their work.
The flower project this time was largely facilitated by Miri, who coordinated a group of artists to create 39 chibi character designs. Basu and I handled most of the logistical work, Mush assisted with the shop, and Cucumber designed the name list. It was a job well executed by individuals with prior experience, I suppose. We’ve certainly come a long way since 2013/14. A big thank you to all the contributors.
I also independently joined the large Tokugawa Matsuri flower stand, which even garnered Suwa’s Twitter attention. It was a well-conceived idea, and the execution was impressive. As expected, there were numerous flower stands at SSA. I didn’t manage to see them all, as I only viewed them on Day 1 when I navigated the back half from exit 209 upwards, after receiving a tip on the location of mine. I attempted to browse the remaining stands on my way out of SSA in a hurry, but it wasn’t very successful. On Day 2, I was seated in the 400 level, so I didn’t even bother walking around inside. Much of the interesting content is readily available on Twitter, including the dressing room flowers that remain unseen by most.
As you might have gathered by now, I prefer to discuss broader themes rather than simply listing setlists. For instance, Million 4th remained a monumental and mind-blowing experience, likely unparalleled in its bittersweetness or sheer awe. Having now been closely involved with Theater Days, the 5th live was, as the saying goes, a brand new performance. The reunion of Burning Girls in what was possibly the first and last Jireha performance, 5th featured mixed-unit live renditions of other LTP and LTH songs. This was quite remarkable, finally bringing “Tokugawa Matsuri Blue Symphony” and “Dream Traveler” to life. Koro’s “Standing Alive” was powerful yet unconventional. Yunkon’s commanding presence in this rendition of “Hoshikuzu Symphonia” was incredibly moving, complemented by our “Million Crybaby Maple.” The return of “Sentimental Venus” and “BluSym” to SSA was also deeply touching for first-wave Million Ps who joined around 2014, like myself.
“Thank You” was finally unveiled, which felt appropriate. Within the 35-song setlist each day, omissions like the absence of “Invincible Justice” felt like an afterthought. This was a setlist truly designed to “show them what we’ve got,” packed with crowd-pleasers, tear-jerkers, and whatever category “くは浮?の??火” falls into – perhaps an “Engine v2”? And “Hanazakari Weekend” for Chulips? LOL.
Incidentally, all the theatrically themed Generations songs are fantastic live, partly due to their inherent theatricality that translates well to a stage performance, but also because they transcend a standard performance. Having each performed by its original unit significantly enhances the experience. “Kuratsuki” and “Hanazakari Weekend” are my personal favorites, though “We Are One” somewhat mirrors “Zettai Break.” “Cleasky” felt a bit forced but was undeniably cute. The hand motion for “Zettai Break” also borrows from “Silent Joker” (or vice versa). In a way, the new Hanabi-dan song feels somewhat underutilized, as we lack context for its intended performance. While it was good and cool, they should definitely perform it again next year, once we Producers have more background information, as they say.
The Sparkle solos were the highlight of Million 5th. They were generally exceptionally good and served to reaffirm the true strength of this THE IDOLM@STER offshoot. Consider this: with Greemas effectively defunct, most new producers attending 5th likely came from Theater Days. Therefore, if you’re a P who discovered the series through Theater Days, you would have no prior knowledge of the Sparkle songs, as they aren’t even in the game. In Greemas’s era, songs were at least previewed in-game and often featured in in-game events, even if only through brief textual references. How will WakachikoP and his team bridge this gap? The 38 Sparkle songs (Subaru’s Sparkle master created the opening video on day 2, so perhaps 39?) constituted more than half of the setlist on both days combined. If you didn’t connect with these songs, the live event wouldn’t have been nearly as impactful as it could have been. On that note, it wouldn’t surprise me if some ML5th attendees felt a bit disappointed, as beyond being a fan of the series and acquiring the music, how were they expected to engage with it? It wasn’t a tie-in; it was the very essence that defined this particular segment of Million Live. Yet, these were songs they were unfamiliar with.
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Regardless, as someone who knew all the songs, witnessing the solos on a grand stage was a treat, especially for the more upbeat tracks. I had anticipated this going into 5th, as well as the phenomenon of some songs that were less engaging on record becoming far more enjoyable live, and vice versa. Certain songs benefited considerably from the presentation. “We Are One” and “Silent Joker” come to mind, though the former’s impact was largely due to the audience’s participation. “Oshiete Last Note,” “Cat Crossing,” “Star Trip,” “Hana Shirube,” “Princess ala mode,” “Hummingbird,” “Aikane?,” and perhaps even “Oli Oli Disco” and “Sora ni Te ga Fureru Basho” all gained from the stage show aspect. On that note, I felt the stage design slightly hindered “Kuratsuki” but greatly enhanced “Melty Fantasia” due to the intricate formations. Also, Tenchan’s hair flips during “Cat Crossing” were astonishing. How does one achieve that so naturally? This “Million hair-fu” is truly remarkable, not to mention all the wigs (shout out to Miina, Pyon, Suzy [hawt], Inagawa-sensei, and the OG master Kokkochan and her balanced audio cable braided ponytail).
Is it acceptable for Million Live to adopt elements from Cinderella Girls? It seems Theater Days is largely mirroring Deresute, so perhaps it’s unavoidable. However, I personally would have preferred more overtly musical elements from “Kuratsuki,” and instead, we received something akin to a voice actor character version of choreography. It wasn’t “Ai Like Hamburger” enough for my taste, but perhaps that’s also unavoidable.
What could have been improved, however, is the emptiness of Keyaki Hiroba. If you’ve attended an SSA event for CG, you’d understand the difference. Perhaps it’s for the best; the venue was crowded with people outside both days, partly because there was no shade on the Hiroba grounds, leading attendees to seek refuge in the shadows of trees and nearby buildings. The weather was actually quite pleasant for all three days, including the goods presale day, which encouraged many people to mill about in the public square, despite the SSA doors opening around 1:50 PM.
Well, perhaps it’s for the best. I believe both veteran and new Million Producers are well-informed on how to navigate an IM@S live event. This includes anticipating old Million group songs performed by a diverse collective of idols present on the same day. It also includes the generally well-managed crowd. No “kujaku.” The nendos, dolfies, bicycles, cosplayers, and so forth all made their appearances as per the natural order of things. The call book this time is quite artful, with a significant portion dedicated to Million and Producer culture. The guide provides song-by-song callouts, and for more complex ones, lyrics are included. There’s also an illustration of the “We Are One” furi. I appreciate how there’s a fundamental understanding of Producer culture, allowing the call book to be streamlined and accessible to newcomers by explaining these elements.
To elaborate further on Producer culture, the practice of one penlight per idol is becoming excessive. There was a minor uproar regarding complaints about the use of UO lights for the three attribute-based songs. Following the live, there was the “burning blue” incident due to excessive UO usage. At ML5th, Bamco introduced a leg-based holster capable of holding 14 lights when layered. It’s quite extreme. It’s also a practical solution if you intend to use all 18 or 19 tanto lights for the live. I opted for the Million 3rd bando and the leg light on Day 2, and it was perfect when the lights were organized systematically (e.g., grouped by P/F/A). If it weren’t for the slightly cramped seating at SSA, it would have been an ideal setup.
In conclusion.
Million 5th also serves as a valuable lens through which to re-examine the evolution of Million Live. Initially, the franchise seemed somewhat directionless, particularly after 4th. The early stages of Theater Days felt largely like an empty shell masquerading as an IDOLM@STER game. Its graphical style during live scenes bore a resemblance to console-mas. Internally, it retained Greemas’s core mechanics. However, player engagement mirrored that of Deresute. It was likely a challenging period for Greemas Ps once the initial excitement subsided.
Fast forward to the return of Kotoha and Tanechan to the game, and I felt Theater Days was finally finding its footing. Million 5th essentially summarizes our past trajectory and our future direction. While it still bears a strong resemblance to Deresute, it is more refined, given the limited roster of 39 idols, and we are already seeing them being rotated. Is this a positive development? I’m uncertain.
There have been numerous changes from Greemas to Mirishita beyond the game itself. The cards, for instance, are considerably less fanservice-oriented. While not due to a lack of revealing outfits, they are certainly devoid of the male gaze. This represents a somewhat more dignified portrayal of our idols, but it also diminishes the playful and whimsical elements found in Greemas. To be absolutely clear, these are not mutually exclusive elements; in fact, we should ideally have both dignity and playful fun (it’s acceptable to place Shiho in a tub with lemons, but not with her legs spread beside the pool). However, it appears that Theater Days has not fully assimilated all the positive aspects of Greemas. Perhaps this will change in time.
I believe it will, just as I believe Million Live will eventually receive an anime adaptation, LOL. However, the source of hope lies in our lovely and dedicated performers themselves. They understand our experiences. This is why I want to believe Yukiyo provided that delightful fanservice moment during “Thank You” on Day 2, to play out the vampire love story in an encore with Kokkochan. While “Kuraki Hoshii, Tooi Tsuki” was the initial sign of something truly “Million-ish,” it wasn’t sufficient for me. However, witnessing this added effort in its physical manifestation as a theatrical act was truly heartwarming.
What offers some solace on that front is observing Rietion’s solo stage and seeing our Space Adventure Idol perform her song about a Space Adventure. This is Million Live, I thought to myself, when I dubbed Arisa the Elon Musk of idols. Joking aside, this is precisely what I seek from Greemas; it doesn’t need to be a central or significant aspect, but it must be present. I want my Harley-riding Noriko, wrestling Shiho, Tokugawa the Shogun, Azusa with the snowball Gatling gun, or Reika as the mad monster doctor. Perhaps our new stories in Theater Boost will continue this tradition, as 5th showcased a teaser for the first event, featuring beach volleyball burst appeal in Rival Schools fashion. That’s what I desire—or rather, that’s what has been absent from Million Live since the conclusion of Greemas content.
Speaking of which, it’s still quite fanservice-y! Umimi might embody “Sports! Sports! Sports!” (which was excellent at the live, by the way), but Ueshama masterfully blends that athletic girl aspect with boundless charm, as evidenced by the video.
I’m unsure if this was intentional or a natural progression of Million Live’s overall series direction, and we are simply along for the ride. However, Fifth instilled in me a strong sense of “it’s all according to plan,” albeit without the confidence that this particular plan is one I wholeheartedly endorse. But I’ve ranted long enough, so here are some miscellaneous thoughts that didn’t quite fit into the main body of the post:
- I want to perform the pumping gun furicope for “Hanazakari Weekend,” but the timing always eludes me, though I managed it once. Also, I still adore that lingering Pirami vocal “AAAH” bit in the second chorus—aaah, so good.
- Rolling Triangle with taped UOs is the optimal approach. Next time, I’ll also attempt a square, or somehow create an open-ended triangle. I love how you can literally roll your wrist and arm to move with the music here.
- How does one execute the furicope for “Angelic Parade’s” closing bird pose without accidentally hitting anyone?
- Speaking of dignity, what is the deal with Popochan’s gravure in the pamphlet???? Oh my god, bless this woman.
- I initially thought a tea set was excessive for “Come on a tea party,” but I felt the need for it. This song is sufficiently chill to warrant it.
- Others have mentioned it, but the elevated main stage platform was inexplicably reserved for the third block on Day 1, when “
