UlasanAnime.com – At AnimeNext 2012, the author found themselves attending an iM@S fan panel, a testament to the dedication of the franchise’s fanbase. While they also visited the dealer’s room and artist alley, the primary draw for this particular convention experience was this specific panel. The author admits they weren’t initially planning to attend the convention, their main interest being the guest appearance of Berryz Koubou, which unfortunately conflicted with their schedule.
Information about the iM@S panel was sparse, limited to what was provided on the convention website, which offered a generic yet professional description of the franchise. The author only became aware of the panel’s existence a few days prior through Twitter, noting that its timing conveniently fit their availability.
Even hours after the event, the author expressed a sense of disbelief, musing, “Whoa, an iM@S panel. Really??”
Following the panel, the author conducted some “stalking” to identify the two individuals who hosted it. These panelists were gracious enough to provide their social media handles, making the author’s task easier. One of the panelists was cosplaying as Makoto, a character from the iM@S series, while the other offered the author a tag for her imported 3DS.
The panel itself, lasting approximately 50 out of the allocated 60 minutes, focused on providing a foundational overview of iM@S. It commenced with a series of engaging quiz questions designed to capture the audience’s attention. These questions covered topics such as the voice actress for Yukiho (with a brief, somewhat irrelevant mention of her eroge history), the idol with video games as a hobby, the new studio in Dearly Stars, and an idol who was removed from being playable in SP.
The presentation then delved into each of the main idol characters. The Makoto cosplayer identified Makoto as her top character but favored Takane for her voice. The other panelist, whom the author refers to as “Nyachan,” is a more dedicated player and expressed a preference for Chihaya and Haruka. Although the author initially forgot who Nyachan’s absolute favorite was, an update later confirmed it was Mami, and Nyachan presented the material in a way that reflected her personal favorites.
The panelists’ discussion hinted at familiarity with online communities like 4chan, prompting the author to wonder which iM@S forums they frequented, perhaps mentioning Project IMAS. A slide dedicated to Nonowa and her associated memes was presented, illustrating the panel’s comprehensive approach. The panelists systematically went through each character and game, sharing their personal impressions, what they enjoyed, and what they disliked. Nyachan highlighted numerous subtle details, such as Takane’s place of origin or the location of the Nonowa doll.
Interestingly, the discussion deliberately avoided the topic of Cinderella Girls until a question from the audience at the end. One of the panelists had played Cinderella Girls and commented on its “gimped foreign aspect,” describing it as a generally tedious game otherwise. This led to a discussion about the “complete gacha” system prevalent in the game, which the author found to be a worthwhile point of conversation.
The panel was attended by a notable number of iM@S fans, or “bros,” as the author puts it, making up approximately 4-5 out of the 27 attendees. One audience member was particularly vocal, though the author acknowledged their points were reasonably made. The author felt they learned something new from the panel, specifically about the Xbox 360 Live for You title, which they found “pretty cool” and enlightening.
Regarding the “LADIES” designation for the panelists, the author referenced Hisui’s observation that the whole situation was “kind of oddish.” While acknowledging that it’s not a significant issue, the author drew a parallel to a Saturday Morning Breakfast Cereal comic. This reminded them of situations where it’s not unusual for a girl to ask KOTOKO about eroge songs she performed, and to offer an awkward smile. The author questioned the relevance of the demographic breakdown of iM@S fans in Japan being predominantly male, or the existence of a significant female galge gaming community overseas.
The author expressed pleasure in seeing cosplaying girls who are fans of the franchise, hoping to see similar performances at events like Otakon. They admitted that attempting such performances themselves would be far less appealing for the audience.
The author speculated that one of the panelists, who is more fluent in Japanese, might be aware of another ex-panelist and eroge player who is also fluent in Japanese.
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The author then shifts to a related discussion, referencing an article by “Author” on Ani-note concerning iM@S and the controversial “children-for-idol” aspect. The author posits that this is a common issue with child entertainers, viewing it as a privilege or opportunity rather than exploitation, drawing a parallel to how young athletes are groomed for professional sports in America, with potential risks to their long-term health.
They argue that the training iM@S idols undergo at a young age is comparable to what Olympic gymnasts experience, which often begins even earlier. The phrase “taking away childhood” is dismissed as a sentiment from older individuals who romanticize their own past or lack understanding of children’s experiences. While acknowledging that the industry can be cynical and producers may be sleazy, the author believes the pervasiveness of the Japanese porn industry is a more significant concern.
The author criticizes Steve’s comments as superficial, akin to a non-customer complaining about a meal they haven’t tasted. They contend that iM@S, at its core, tells a relatable story of a child pursuing their dreams with determination and an adult-like attitude. The author believes that the narrative of growing up, adolescence, and overcoming hurdles, guided by friends and mentors, is a universal theme found in many stories, regardless of the specific vehicle, be it an entertainer or idol.
To illustrate their point, the author sarcastically suggests that if they were a “contextualization fairy,” they would direct criticism towards Accel World for its depiction of children’s childhoods being impacted by high-tech networks, as a commentary on the internet’s influence on the next generation.
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In conclusion, the author notes that Steve, in a reply to Author’s post, expressed concern about the age of the idols. The author questions whether Steve believes only adults should be entertainers or if he is specifically bothered by 15-year-old girls in anime. The author finds this complaint to be increasingly unreasonable and less compelling the more they consider it.
