UlasanAnime.com – The author expresses a strong dislike for the Crunchyroll Awards, viewing them primarily as a marketing exercise. While acknowledging that marketing is inherent, the author feels the awards’ selection process, which seems to prioritize engagement and “fan consensus,” is problematic. They argue that this approach, even when highlighting popular shows like Frieren, undermines the awards’ credibility by seemingly trying to appease a broad audience rather than genuinely celebrating excellence. The author suggests that the awards should at least be more transparent about their marketing nature or strive for a slightly more discerning selection to avoid feeling like a superficial popularity contest.
Despite their criticisms, the author wishes the Crunchyroll Awards success, partly because it provides opportunities for figures like seiyuu Sally Amaki. They draw a parallel between enduring a less-than-stellar anime for a favorite voice actor and the passive consumption of online content. The author believes that for their own life to improve, the Anime Awards themselves need to improve.
A more engaging marketing endeavor, for better or worse, is Anime Expo. The author sees value in Japan focusing resources on this major overseas market event, acknowledging the growth in the anime industry. However, they also observe a potential lack of sufficient commercial investment. The author laments the limited avenues for fans to receive news outside of corporate-controlled outlets like Crunchyroll, suggesting that commercial entities are crucial for improving the marketing and informational aspects of the fandom.
You might also be interested in : May Anime Events
Anime Expo, organized by SPJA, has a long history and serves a vital function in connecting fans with the commercial side of anime. The author believes its continued existence proves the benefits of bringing Japanese executives and their large booths to events like AX, where they are met by tens of thousands of enthusiastic fans.
The author questions the growing commercialization of AX, citing high prices for concessions. While acknowledging that last year’s slightly lower attendance contributed to a positive atmosphere, this year’s event appears to have a stronger marketing push. The core of AX, according to the author, is its ability to leverage the commercial sector to benefit fans. In contrast, traditional fan conventions often struggle to attract commercial entities. The author advocates for Japanese companies to engage with a broader range of North American conventions, not just AX, to fill a significant void in the market. AX, with its intense concentration of commercial content over a few days, offers a “feast” for such activities, while other cons experience a “famine.”
The author then addresses the “toxic” fan vs. corporate dynamic, suggesting that coexistence is possible with ethical journalism. They argue that both fans and corporations benefit. For instance, the success of franchises like Idolmaster in America depends on Bandai Namco’s investment, predicated on the belief that fans will support it. Fans need to demonstrate their passion concretely, and convention organizers should recognize their role in showcasing fan demand to executives, a crucial aspect that often remains invisible.
Addressing the “for worse” aspects of Anime Expo, the author contrasts the harmlessness of a webtoon winning an Anime Award with more serious issues. They express concern about fans suffering heatstroke in lines and the potential for dangerous stampedes when vying for autograph tickets, highlighting instances where Anime Expo can be unsafe. The author emphasizes that safety should be paramount, and no one should be harmed or require hospitalization due to events like the Anime Awards or Anime Expo.
