UlasanAnime.com – While the author of the original article expresses a general liking for all characters in the Love Live! franchise, they acknowledge the concept of viewer antagonism and how strong emotions, both love and hate, signify deep engagement. The author admits to feeling more of an “affirmative indifference” rather than outright “love” for the series, with Arisa being a notable exception as their MVP from the first season. They appreciate the effort in the second season to develop the group, noting that not all members had speaking roles or significant spotlight in the initial season.
From the perspective of a devoted Maki/Pile fan, the author finds that characters like the “moms,” ARISE, and even the normal students from Love Live! School Idol Festival (LLSIF) contribute significantly to rounding out the franchise. These smaller details are seen as crucial in attracting fans. Despite enjoying Rin’s episode in the second season, the author still finds her largely indistinguishable from Hanayo, attributing their enjoyment more to the storytelling than to Rin herself. Nico’s character arc in season two is described as a welcome twist on a common trope, but the author analyzes it from a meta-perspective, focusing on tropes to find positive aspects. They believe Nico deserves someone who appreciates her for who she is. The “Washi Washi” meme is highlighted as a personal favorite, suggesting the author’s enjoyment of more risque and daring elements, though they note that Love Live! generally adopts a conservative approach to entertainment despite taking risks.
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This conservative approach, however, allows for many subtle jokes and character traits to be enjoyable. Hanayo’s love for rice is cited as an example of a simple yet deep character trait. The author points out that understanding the origin of memes like “Cotoli-face” reveals how meticulously fans dissect idol content, indicating a calculated and thoughtful approach behind the franchise. While the underlying mechanics of Love Live!’s appeal might be easier to grasp from an external viewpoint, it doesn’t diminish or enhance its appeal for those who either enjoy or are repelled by it.
The author then draws a parallel to their enjoyment of other idol anime, such as The Idolm@ster (IM@S). They recall fond memories of the Haruka-Chihaya ship and Yukiho’s shovel from IM@S, which provided humorous moments and remain memorable. However, they state that these moments don’t quite reach the depth of storytelling they have documented on their blog over the years.
In conclusion, the author’s emotional response to Love Live! is characterized by a balance of indifference and a general liking. They find the series fun and enjoyable, and appreciate its ability to engage a wider audience, something they, as a seiyuu idol fan, approve of. This mutual engagement is seen as built on a shared skepticism towards media companies that sell “prepackaged feel-generators” at Japanese prices. Ultimately, the author expresses gratitude for what Love Live! has achieved through its mobile game, its fans, and its associated companies like Lantis, Bandai, NISA, and Bushiroad. They humorously note that one can “enjoy” the series without spending money, referencing a perceived cultural dynamic.
