UlasanAnime.com – The author recounts their experience attending a Miku event, which left them feeling exhausted but impressed by her ability to entertain. To commemorate Miku’s 6th birthday, a global celebration was organized, culminating in a major event at Yokohama Arena on August 30th called Magical Mirai 2013, a hybrid concert and exhibition.
The author attended a delayed satellite broadcast of the event, having also watched a significant portion live via Nico stream. For those who can navigate Nicovideo, the two-hour show is available for viewing after the fact. Alternatively, one could download it, though this is noted as a less legitimate method.
The New York City event was a sell-out, leading to crowded conditions and a noticeable atmosphere, especially on a humid day. A van with a satellite dish parked nearby was a point of concern, as organizers had previously warned of potential cancellations due to technical issues. Fortunately, the broadcast proceeded without a hitch.
Participating in glowstick calls within a movie theater proved challenging. The group secured the back row, which facilitated their engagement. While in line, they interacted with enthusiastic young fans who had traveled to attend, many in cosplay and braving the humidity. The atmosphere was akin to a convention, but with an abundance of tangled blue-green wigs, and the attendees skewed young, typical for Miku events.
You might also be interested in : Random Product Ideas
Following the show, the group explored the surrounding area. One member, a Len cosplayer, attracted little attention given the circumstances. The author found it less surreal than one might expect, having attended many similar events.
The Miku-themed experience continued with dinner, where discussions revolved around their shared interests, and later at a karaoke session, which was thoroughly enjoyed by all, regardless of their level of intoxication.
However, the author suggests that true quality time with Miku and her companions is best experienced through playing Project Diva, now available in North America. The songs on the game feel more “textured” when actively engaged with. Lyrics transform from abstract symbols into meaningful words, and the accompanying videos often convey the narrative as effectively as the music itself, something a simple dance performance might not achieve.
The author cites the “Freely Tomorrow” PV by Mitchie M as an example, stating it gains double its impact after playing the game. This enhanced appreciation now extends to every note of Miku’s Magical Mirai performance.
This sentiment also brings to mind a previous video from some time ago.
The sheer volume of Miku-related content available is overwhelming, with YouTube playlists of Vocaloid material that could last for days. The number of songs, both professional and amateur, is vast enough to fill terabytes of storage, with many legally available for free. The 6th birthday live event, in particular, generated immense enthusiasm, suggesting a significant draw. The production team seemed to have a vast array of resources at their disposal. For a weekend, the author’s world was thoroughly immersed in this phenomenon.
Regarding the future of Vocaloid, the author believes “freely tomorrow” is an apt description, indicating limitless potential. However, Miku remains an elusive and somewhat impenetrable cultural hologram. While enjoyable, her appeal can be as superficial as any pop culture trend, yet at times, it delves into surprising depth. Miku’s unique position is enhanced by the magic of being a crowd-driven, crowdsourced movement in an era of rapid global change.
What is truly magical, the author posits, is the continued dedication of people who use Miku as a medium for creating music and expressing themselves. From cosplay and MMDs to acquiring Miku-related products (now available from Big Fish Audio for North Americans), Miku’s journey has always been imbued with magic due to its reliance on a crowdsourcing model. From a corporate perspective, entities like TOKYO MX, Crypton, Sega, Sony, and NND, along with other Magical Mirai 2013 sponsors, benefit from a self-driving marketing engine. Their role primarily involves selling CDs, DVDs, and promoting concerts and merchandise, which, as if by magic, sell exceptionally well. This includes items like Mitchie M’s new album, featuring artwork by Sadamoto, which the author finds particularly magical. Excellent songs and captivating videos emerge organically from NND and YouTube, created by fans and appearing almost spontaneously. From another viewpoint, it resembles a series of small miracles, where individuals embrace a copyleft-leaning model of sharing and collaboration, yet still manage to achieve financial success precisely because of this focused, high-quality output.
However, what truly captivates the author about Miku and her future is its increasingly international dimension. Miku’s fandom, even in Japan, remains somewhat niche, and the author anticipates significant growth in these vertically oriented communities when international fans are considered. This is a driving force behind the development of English Miku content and initiatives like Mikubook. The challenge lies in enabling these international, multilingual operations to function effectively for all involved entities. The author views the world simulcast of Miku’s Magical Mirai, complete with English promotions, as a magical feat, questioning which other 2D Japanese fandom achieves such global reach.
PS. The King Blade X10 Mk.IIs are as impressive as advertised. Miku-tested and omo-approved, they come highly recommended!
