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Tomoyo Kurosawa Interview @ Anime Expo 2015

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tomoyo kurosawa interview

As part of the upcoming tide of talent in Japanese voice acting, Tomoyo Kurosawa has played roles including Natsuki Koyama in Welcome to THE SPACE SHOW as well as Otome Arisugawa (Aikatsu!), Miria Akagi (The IDOLM@STER Girls), Kumiko Oumae (Sound! Euphonium) and Itsuki Inubozaki (Yuki Yuna is a Hero). Find out what the charming young voice actress had to say briefly about her first time in L.A., school life in Japan and about her role in Yuki Yuna!

T-ONO: Is this your first time in Los Angeles?

Kurosawa: Yes it is!

T-ONO: Are there any food in particular that you are looking forward to trying while in Los Amgeles?

Kurosawa: Ummm, a big, big, big hamburger!

T-ONO: Have you heard of In-N-Out?

Kurosawa: Yes, I’ve heard of it! I really want to go there!

T-ONO: Might we suggest “animal style?”

Kurosawa: Is it good?

T-ONO: Yes, it’s quite delicious!

Kurosawa: Really, perhaps I’ll try it then!

T-ONO: In Yuki Yuna is a Hero, your character Itsuki attends an after school club called the Hero Club. Did you attend any after school clubs yourself as a student?

Kurosawa: In middle school, I was actually in the cooking club and when I was in high school, I was part of the music club and played the guitar.

T-ONO: Are these after school clubs mandatory in Japan?itsuki tomoyo kurosawa ax15

Kurosawa: Depending on the school, more than 50% of the students are involved in some club. The school that I went to, 90% of the students were involved in clubs.

T-ONO: If you could make a club with any anime character, who would be in it and what would the club objective be?

Kurosawa: We’d probably make a walking club or nap club with characters that have soft personalities such as Goto-kun and Ricco in Sound! Euphonium.

T-ONO: In Yuki Yuna is a Hero, your character loses her voice after a few episodes, how do you feel about your fans who wanted to hear more of your voice?

Kurosawa: Haha, well you can only listen to Itsuki’s songs if you watch episode nine.

T-ONO: In Yuki Yuna is a Hero all the cast sings the ED song in an episode, and your character Itsuki Inubozaki has a dream of becoming an idol singer. Do you in real life share this dream as your character?

Kurosawa: What I actually really like is the theater in addition to singing as part of my career!

T-ONO: Are you working on any current or future projects that you could share with us?

Kurosawa: Sorry, I can’t share them yet!

T-ONO: Lastly, do you have any special messages that you would like to tell your fans?

Kurosawa: Well since I came to Los Angeles, I had a chance to meet a lot of fans through networking such as Q&A and other events which makes me very happy to be here. It makes me very happy to know that a lot of people [overseas] love anime, so please continue to enjoy it!


Yumiri Hanamori Interview @ Anime Expo 2015

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yumiri hanamori interview ax15

Along with Tomoyo Kurosawa, PONYCANYON brought up-and-coming high school voice actress Yumiri Hanamori to Anime Expo 2015. Known particularly for her roles as Sachiko Umemoto in Ace of the Diamond, Chiaya Misono in The Rolling Girls, and Uri-tan in Etotama, Yumiri has provided a breath of fresh air to the voice acting community in Japan through her considerable talents as she looks to leave her mark on the industry. Join us in this sit down interview as we find out about her roles in the Yuki Yuna video game, as well as who the "Matcha Green" is in her life!

T-ONO: First off, we just wanted to say welcome to Los Angeles and Anime Expo!

Hanamori: Thank you very much!

T-ONO: So is this your first time in L.A.?

Hanamori: This is my first time, I am very nervous.

T-ONO: Are there any food in particular that you are looking forward to trying while in L.A.?

Hanamori: I want to eat frozen yogurt with lots of fruit on it!

T-ONO: You were in Yuki Yuna and Rolling Girls, and in both series you play as a teenager who finds hidden powers to help them overcome adversity. Can you relate to those characters in real life?

Hanamori: The characters I play in those series are also regular girls when they’re not using those powers, so that's how I am able to relate to them and feel close to them.

T-ONO: In Rolling Girls your character Chiaya Misono is always eating Takoyaki, isn't that cannibalistic considering your character's true identity?Images from Rolling Girls are copyrighted: FUNimation/ Wit Studio

Hanamori: Chiaya Misono is actually eating an octopus made out of sausage, so that's not cannibalistic at all *laughs*.

T-ONO: In Rolling Girls Chiaya Misono tells Nozomi that she’s her “Matcha Green.” Who is your “Matcha Green” in real life?

Hanamori: I grew up looking up to and observing my dad. He is really smart even though I don't know what he is always thinking. Regardless, he still always supports me and accepts me for what I am and what I want to do. That's why he is my hero.

T-ONO: In Yuki Yuna your character is in a club that helps the community by doing good deeds, while in Rolling Girls your character joins a group of girls that go around trying to resolve other people's problems and issues through peaceful means. If you had that chance in real life, would that be something you would think of pursuing?

Hanamori: I would probably just join one of the clubs since I was in the tennis club when I was in middle school. However, I had to quit that, so if I was able to join another club it would be a flower arrangement club.

T-ONO: We see in a lot of anime that there are after school clubs, are they mandatory in Japan?

Hanamori: They are not mandatory, but if you are not in one you are part of the "going home club." Since I am working while still in school I’m not currently in any clubs.

T-ONO: What are the most popular clubs?

Hanamori: For girls, the most popular sports club is the tennis club. For cultural clubs it’s the music band club.

T-ONO: Since you were in the tennis club, what is your best hand forehand or backhand?

Hanamori: While it's easier for me to perform a forehand, I have been told that my backhand is pretty good.

T-ONO: During the recording of the Yuki Yuna game for PS Vita, were there any interesting moments involving your fellow cast member Tomoyo Kurosawa that stood out?

Hanamori: While my character isn’t really featured in the anime, I was able to attend some of the recordings for the game. In one scene our characters were at an udon shop and I was trying hard to make a good conversation, but Tomoyo was just kind of saying "um yeah..." and so I said "are you even listening" so that was my little ad lib.

T-ONO: In Yuki Yuna there are a lot of emotions that the characters have to express to fans, how do you prepare for those scenes in particular?

Hanamori: Since my character Gin-chan didn't have many fight scenes there was more of an emphasis on everyday scenes. I tried to make them as fun and as normal as possible so they would be like everyday life.Images from Yuki Yuna is a Hero are copyrighted: PONYCAN USA/ Studio Gokumi

T-ONO: As a voice actress is there a ritual that you do before you go into a record session or afterwards?

Hanamori: Since I tend to get really nervous, I usually like to try and gather all my strength and make a fist then let it go.

T-ONO: Maybe next time bring a tennis racket.

Hanamori: Hmmmm….I wonder. Actually, I’m pretty sure that they won’t let me bring a racket into the recording session *laughs*.

T-ONO: Are there any messages that you like to leave with your American fans?

Hanamori: Nice to meet you my name is Yumiri Hanamori and I'm really happy to have this chance to meet fans outside of Japan. Please continue to support the shows I am in, including Rolling Girls, Etotama and Yuki Yuna. Thank you very much I am very happy to be here!

All images published with consent from the publisher/distributor.
Images from Yuki Yuna is a Hero are copyrighted: PONYCAN USA/ Studio Gokumi
Images from Rolling Girls are copyrighted: FUNimation/ Wit Studio

Itaru Hinoue Interview @ Anime Expo 2015

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itaru hinoue interview ax15

During Anime Expo 2015, The-O Network had a chance to interview Visual Arts/Key illustrator/character designer Itaru Hinoue whose extensive portfolio includes AIR, Rewrite and more recently her own project Holy Breaker! Famous for their heart-wrenching high school drama and magical endings, Itaru's amazing artwork has been prominently featured in Key's numerous anime and visual novels, and have been known to bring even the coldest of souls to tears. With the upcoming release of Key's CLANNAD this November on PC/Steam, find out what the multi-talented artist had to say in our sit down interview with her!

itaru hinoue interview ax15 2T-ONO: Please introduce yourself and tell us if you could be any animal, which one would you choose and why?

Itaru: Hello, I am Itaru Hinoue an illustrator from Visual Arts/Key. I currently have a pet lizard, but my favorite animal is a bird. If I could be any animal, I would like to be a 'central bearded dragon.'

T-ONO: Obviously, you’ve had an extensive career working with Jun Maeda and Key. Out of all the works you’ve done alongside them, which series was your favorite to draw?

Itaru: Although everything that we’ve worked on together has been memorable, the one project that stands out the most for me is AIR. We had to hold in our laughter when we worked on that project.

T-ONO: Are there any characters that are hard to illustrate due to fine details or emotions?

Itaru: I would have to say Misuzu’s emotions from AIR were hard to illustrate.  

T-ONO: Aside from being an artist, you recently created your own visual novel series, Holy Breaker!, that was released on mobile devices (and PC). Although it started as an April Fool’s Joke, a lot of fans reacted positively. Was the design process any different from Rewrite, another visual novel that you created the idea for? Second, do you think that there will ever be an English translation for it?

Itaru: Since Holy Breaker! was not from Key, it’s a bit different. To me, the design process was a tie between Rewrite and Holy Breaker! Since I was trying to advance my art skills and following current trends, between Rewrite and Holy Breaker!, there might be a slight differentiation in the art styles.

Unfortunately, I cannot say anything about a translation for Holy Breaker!

T-ONO: Does the mobile format lend itself or are there issues with it compared to PC? What format do you prefer as an artist and creator?

Itaru: Since I’m not on the programming side I can't really answer that question. However, I personally prefer the PC format over the mobile format.

T-ONO: Earlier this year, Sekai Project's Kickstarter campaign for Key’s CLANNAD got funded through crowd sourcing. Did it surprise you how quickly the campaign made money?

Itaru: I was very surprised and glad when my manager pointed out to me how much the campaign was raising. It made me very happy to see that there were many fans out there that supported this campaign.

T-ONO: And lastly, for all the CLANNAD fans. What’s cuter: a starfish or a Dango?

Images from CLANNAD are copyrighted: Sentai Filmworks/Kyoto Animation

Itaru: *laughter* Dango is cuter!

All images published with consent from the publisher/distributor.
Images from CLANNAD are copyrighted: Sentai Filmworks/ Kyoto Animation

Website Relaunch, Upgrades, and Content Delays

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t ono construction

Over the past few months, some of our readers may have noticed delays and the decrease in the number of articles and updates.

The-O Network’s website has been around for almost 8 years now and the accumulated clutter from the very first version of the website is causing a myriad of issues including making article creation difficult. As an organization, we have expanded beyond the bounds of what our current web structure will allow us to work with. We have made various upgrades and updates to it but it is now time to retire it. I am happy to announce we have been working on a new website over the past few weeks and we plan to hopefully launch it soon!

This puts us in an odd situation where we have a large number of content left over from the recent conventions while the bulk of the staff is frantically working to prepare for migration. The website’s content focus has changed over the years and we approached organizing our contents in different ways. With the new website, we are creating a uniform method of organizing our content along with revamping the backend and fronted administration. This means we would be able to support reader submissions. We are also expanding our content the depth of our content coverage with various staff members being assigned as content leads. In the end, this means more frequent and relevant updates and more interactions from our readers.

I want to personally thank all our readers for following us all these years and your patience with us. I know a lot of people were very excited with our guests we brought to Anime Expo 2015 and I can tell you we have a lot more surprises for everyone. Stay tuned!

Wagakki Band Concert Impressions @ Anime Expo 2015

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wagakki impression 1

For July 4th Club Nokia plays host to both Wagakki Band and their opening act in the form of the Vocaloid IA.  This happens to be the first stateside show for both.  The two acts are part of the twenty-fourth iteration of Anime Expo in a mini-event dubbed the "Cool Japan Festival."  They couldn't have picked a better stage to debut on in the United States.  Out of all the concerts and events at AX this one was what I was looking forward to the most.

IA seemed to have some technical problems before going on; a full hour passed between the slated start time and actual showtime.  She uses the same projection screen technology as Hatsune Miku in Nokia (now Microsoft) Theater but on a much smaller scale meant to fit the stage of Club Nokia.  Once things went live she wowed the crowd who was glad to see her.  Everyone was in high spirits and pumped their fists in the air and grooved alongside IA and her real-life backup dancers.  A live backing band hidden in the wings provided the music.  An hour quickly passed and she ended with the song "Otsukimi Recital" with the promise to return.  Next up: Wagakki Band.

Wagakki Band is not your usual band.  For one, there are eight members.  That's a lot of people to fit on stage.  For two, they play a mixture of both modern instruments and traditional Japanese ones (the "wagakki").  They also look pretty damn cool.  Their outfits are inspired by historical Japanese clothing and their lead vocalist Yuko has an elaborate oiran-esque design.  The band consists of shigin-trained Yuko Suzuhana with guitarist Machiya, bassist Asa, and drummer Wasabi. Adding to this are Beni Ninagawa on tsugaru-jamisen, Kiyoshi Ibukuro on koto, Daisuke Kaminaga on shakuhachi, and Kurona on wadaiko.

wagakki impression 2

They started with "Senbonzakura" which serves as an introduction for the band.  Originally a vocaloid song from 2011, it also helps highlight some of the members.  A sea of purple glow sticks (their theme color) rhythmically pumped through the room to the beat, a sure sign of a crowd having fun.  This was followed by "Iroha Uta" and "Yoshiwara Lament," both from their popular album, “VOCALO Zanmai.”  A lot of the songs featured would end up being from that album which, as it's name might imply, is heavily vocaloid based.  "Akatsuki no Ito," from their upcoming album, “Yasouemaki,” would break this trend and usher in a trio of their newer songs including "Ikusa" and "Hana Furumai."  The band would close with "Roku Chounen to Ichiya Monogatari."  The show might have taken a while to start but it passed by in a flash leaving fans wanting more.

wagakki impression 3What can you say about Wagakki Band?  They look great on stage.  There's always something or someone to watch and no member is forgotten.  You can tell they like performing on stage and have a bit of fun.  Their sound blends modern music with that of historical Japan seamlessly and brings the two together to create a stronger whole.  It isn't the first time I've seen modern instruments combined with traditional Japanese ones but Wagakki Band has definitely executed it to a higher degree than I've seen before.  Each instrument has its place in the ensemble and none are forgotten in the background.  At times the seven different instruments threaten to merge together into cacophony but things quickly come under control with Yuko at the helm.

Later in the day both in person and online I overheard more than a few persons saying things along the lines of "worth the wait" and "to be able to see them, an hour was nothing."  I had the same feeling and while I might have been a bit demoralized by the delay I loved the show.

The band is currently finishing up a new album in which each member contributes arrangement and songwriting.  It is slated for a September release.  Rumor has it that the band is aiming to do a world tour sometime so maybe us stateside folks will be able to see them again soon.  San Francisco, perhaps?  Hint hint, wink wink.

Set list:

Senbonzakura
Iroha Uta
Yoshiwara Lament
Kagerou Days
Tengoku
Homura
Akatsuki no Ito
Children Record
Ikusa
Hana Furumai
Setsuna Trip
Roku Chounen to Ichiya Monogatari

Ayako Kawasumi Interview @ Anime Expo 2015

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ayako kawasumi interview ax15

At this year's Anime Expo, Aniplex hosted a Fate/stay night [Unlimited Blade Works] special event.  A lot of guests from the series were invited and the prolific Ayako Kawasumi who voiced Saber in the Fate/stay night series was one of them. Some of her other well known roles include Mahoro Ando from Mahoromatic, Aoi Sakuraba from Ai Yori Aoshi,  Megumi Noda from Nodame Cantabile and many others. We had a chance to sit down for a few minutes and ask a few questions about her career.

 T-ONO: Having had the chance to voice mostly every iteration of Saber, from the Fate franchise, how does it feel to have played so many different versions of the same character?

Ayako: While there have been many variations of Saber, from shy to noble-kingly, as in Fate/Zero, to me Saber is always the same due to her personality and always having a firm belief for which she stands. Saber from the Fate/stay night is the original, even to me, I am always looking forward to seeing her next version.

T-ONO: Do you feel that the last version of Saber from Unlimited Blade Works was much more central focused?

Ayako: As you know, there are three parallel stories in the Fate/stay night storyline, with each story featuring Saber with a different attitude towards things such as her relationship with Shiro in addition to different point of views. For example, in the “Fate” route, Saber is in love and therefore is more emotional. Due to her emotions she is always going through a roller coaster of feelings. However, in Unlimited Blade Works, Saber is emotionless so her relationship with Shiro tends to fall more into a master and servant type of role.  I felt much more comfortable playing that version.

ayako kawasumi saber interview ax15T-ONO: Out of all the versions of the Sabers that you have portrayed, do you have a favorite version and why?

Ayako: It is hard for me to pick a favorite since I see Saber as one individual. While viewers may see Saber from Fate/Zero in a much more masculine/strong light, I see her as the same person just with a stronger belief in herself. So to me, Saber is just Saber with different attitude towards things.

T-ONO: With such an extensive portfolio, having played a very wide variety of characters from strong characters such as Saber from the Fate series to more affectionate characters like Aoi Sakuraba from Ai Yori Aoshi, do you have a favorite type of character you like portraying most?

Ayako: It is hard to pick my favorite, but in terms of difficulty or challenging it has to be Saber and I like challenging roles.

T-ONO: It can be argued that one of the things that Fate/stay night does well is portray the strength of female characters alongside their feministic qualities. What is your opinion on the matter?

Ayako: That’s actually one of the strong points to the character Saber. She always seems strong as if she can protect everybody, but in certain moments you can see her as someone that you want to protect. So I think that is part of the beauty of her character.

T-ONO: What would the conversation be like if Fate/stay night Saber met Carnival Phantasm Saber?

Ayako: Since the Fate/stay night Saber is very diligent and studious she would try to calm the Carnival Phantasm Saber down.

T-ONO: Besides your role as Saber, you've done music composition for anime series including Nodame Cantabile. What was that experience like? How does it feel to integrate piano playing (something you have been doing since childhood) into anime?

Ayako: Since I played piano from three years old all the way until I was twenty-three, I always thought I would be a pianist somewhere like Korea. However, at some point my life took a different course and so I felt guilty for not finishing what I started. By doing Nodame, I felt that I accomplished my unrealized goal of being a real pianist and it gave me a sense of satisfaction.

All images published with consent from the publisher/distributor.
Images from Fate/stay night are copyrighted: Aniplex USA / Type-Moon

Anime Expo 2015 Impressions

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anime expo 2015 impressions

Anime Expo’s twenty-fourth year has once again shattered attendance records, and raised the bar for Los Angeles’ most popular anime convention. Last year’s convention saw a huge increase in attendance, with special events such as the Kill la Kill special event, Sailor Moon panels and premier screenings.

After Anime Expo 2014 had concluded, SPJA President and CEO of Anime Expo, Marc Perez, had issued an open letter to attendees acknowledging the issues that plagued 2014 while vowing to do better. Though initially met with skepticism, the team behind Anime Expo certainly took the challenges head on to give fans a smoother experience for 2015; although not perfect by any means, the AX 2015 experience had improved immensely over AX 2014.

Registration at Anime Expo has always been a problem, with failing computers, not enough stations for registration, and long lines in the sun without shade. This year, they turned it around; with reports on Facebook stating that badge pickup for general attendees was not a matter of hours, but rather minutes.

The exhibit hall, as well as the other halls at the Los Angeles Convention Center, was expanded to help alleviate with the flow of traffic, as the aisles were more open to walk through but of course, the crowds still build up at the very front. Past the initial glut of attendees, the middle of the hall does open up for more room to walk. Of course, this still does not address the fact that Anime Expo is getting extremely crowded with the continued attendance growth. So when multiple panels get out at the same time, navigating the halls is definitely a challenge.

The autograph system was also entirely revamped for 2015. Firstly, the entire raffle situation was removed entirely in favor of having a set number of both priority and standby tickets. If you wanted more than one Guest of Honor, you simply had to line up once more to get another ticket at the main booth. Autographs, along with E-Gaming were moved from West Hall to the South Hall, which helped disperse the crowds in the area.

Up until now, going to Anime Expo as a general attendee, can be very taxing, considering the high volume of events they have to offer. For the four-day attendee, there is a lot of planning you have to go through, to ensure you can hit everything on your schedule. Most panels, and events can happen back-to-back, regular attendee’s will need to line up at least three to four hours in advance, to ensure that the line does not get capped as you arrive. Some ticketed events may overlap with a panel or two, so depending on what events you want to attend, you may have to end up skipping a panel, or concert; As long as you line up early for events, you can usually get away with making it to everything on your schedule.

For Anime Expo’s Premier Fan Package, which was introduced in 2011, there were also improvements to ensure that they too had a smooth experience. Badges to Premier attendees were mailed out in advance, which aided in cutting down time spent to pick them up. To continue adding to the premier experience, the “Premier Fan Lounge” was introduced as a perk; the quiet and private lounge itself provided complimentary drinks, charging stations, comfy seating and free swag bags. Of course, despite all the freedoms and perks Premier fans can enjoy over general attendees, such as priority seating and an extra hour of shopping on Day One, the cost of this VIP experience is becoming very expensive at $275 per attendee. The price for 2016 has jumped to $375 – which is $100 more – but will offer early access to the AX hotel block to make reservations. Despite the rising costs, these badges are just as coveted as a San Diego Comic Con attendee badge.

Compared to last year, Anime Expo has taken leaps and bounds to actually improve the stability of their convention, and make sure that it is a smooth experience for attendees. As attendance continues to grow, it’s getting much harder to regulate the crowds and clear out panel rooms so that programming starts on time. While it’s not perfect, I am excited to see what SPJA can bring to the table for not only 2016, but for the upcoming future.

J-POP Summit 2015 Impressions

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J-jpop summit 2015 fort mason impressions

Celebrating the seventh year since their inception, J-POP Summit 2015 in San Francisco was simply a resounding success. Building upon their excellent traction in attendance from last year, this year's event would prove to be a defining crossroad for the annual festival as it was the first year that the organizers decided to charge for attendance in addition to moving it to a new centralized location; or as one of the event's organizers Erik Jansen put it, “it's a reboot of the entire event.”

Formerly a military post in San Francisco's Marina district, J-POP Summit 2015 utilized the historical Fort Mason Festival Hall at the Presidio as the main location of the show this year. This meant that nearly everything would be held indoors this year, a first for the festival. Highlights of the event included a star-studded guest lineup including incumbent anime band JAM Project, the hyper energetic melodies of Little Glee Monster, Gacharic Spin and FES☆TIVE, Kill la Kill/Sword Art Online singer Eir Aoi and many more. Although most of the experience was limited to the main events hall and concerts, other locales included San Francisco's Union Square for Sake Tasting (as well as extra musical performances), New People Cinema for film screenings and the Castro Theater for the Opening Ceremonies.

Through spreading the venues throughout an approximate two-mile radius, it solved much of the logistical nightmares that plagued the festival last year- namely the attendance boom and parking issues. Though parking was still difficult due to proximity of spaces near Fort Mason, it was still as easy as a breeze compared to last year's tumultuous three plus hour parking fest. Additionally, while there was a noticeable departure of the ramen festival this year, the absence of the problems that it brought along was a welcomed relief.

Thankfully for festival-goers, as well as for people visiting Fort Mason, there were still plenty of food trucks to feed the stomachs of the attendees including the Hello Kitty Food Truck, Bacon Bacon and more. Coincidentally as a bonus, the weekly Farmer's Market at Fort Mason on Sunday also brought fresh goods, fruits and snacks to the area. As someone who's tried to put his health first, the unexpected market was a first and greatly appreciated.

For the festival itself, the event hall was split into several different areas, each presenting attendees with a different flavor of Japan, from snacks and travel all the way through technology, as well as everything in between. This is one aspect of the old J-POP Summit in San Francisco that I was worried would be lost in the shuffle, but was glad to see that they kept in all in tact as it's what always made J-POP Summit standout from the rest of the pact of conventions.

Having previously used the San Francisco Japantown Pagoda for their main musical acts, seeing the festival using a more traditional indoor staging was a welcome site. The area in front of the stage was split into three different sections: media in front, VIP behind them and general attendees in the back and for the most part it worked as the festival's security staff held the badge policies fairly strict. The only time that there were any problems were during Eir Aoi's and JAM Project's performances on Saturday night when the PR announcer had to briefly grab the mic to remind attendees not to push or lean against the section dividers.

Overall, the experience this year was a huge step in the right direction for the festival and although I would still personally like to see them move into a much more accessible area, such as the Moscone Center or the soon-to-be-built Warriors Arena, in the future, it was still a refreshing and very welcomed change of pace from the usual convention such as Anime Expo and Sakura-Con. With the promise that next year's event will be even larger, I for one, can't wait to see just what they have in store for us next year!


Gen Con 2015 Impressions

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gen con 2015 750x444

Although Gen Con sounds rather crowded, the convention is spread across various hotels that are connected to the convention center, which helps alleviate congestion.  Badge pickup was surprisingly well coordinated, with lines being moderated by volunteers who also helped keep the lines from blocking the traffic through the halls. Similar to many large conventions, Gen Con allowed those who pre-ordered their badges to pick them up the day before the convention. The wait in line was around 30-40 minutes at around 4:00 p.m. that day. I was impressed with how fast the line went as well as the line system that the staff had. This line system was further used for picking up event tickets (to attend different events) as well as customer service lines. On top of the neat lines, Gen Con also managed to keep all lines inside the convention center where there was plenty of air conditioning to be had.

11170288 10153164075478155 628385079827806969 oSimilar to last year, attendees were given cloth shoulder bags to hold their program guides and any other miscellaneous items that they acquired during the duration of the convention. As we mentioned previously in our article from last year’s Gencon, this sponsor bag is a better idea than the flimsy plastic bag from the previous years. It is a fantastic marketing tool and an item that simply won’t be tossed to the side after the convention. Gen Con also continues to have its show coupon book that showcases various exhibitors in the hall and promises some discounts or free swag in return for visiting certain booths.

This year the exhibitor’s hall boasted over 350 different vendors who sold wares ranging from LARP weapons and armor to board games. Gen Con’s exhibitor hall has always been a main attraction of the convention, perhaps more so than the guests, as attendees get the chance for exclusive releases and playtests of upcoming games from publishers such as Paizo Publishing (creators of the Pathfinder series), Mayfair games, and Dungeons and Dragons. The exhibitor’s hall was more difficult to maneuver through this year as the attendance increased about 9% from the previous year. Bushiroad happened to be a sponsor this year and had a large booth promoting their card games along with several tables where you could learn and demo Cardfight Vanguard, Weiss Schwarz, and their newest game Future Card Buddy Fight. During the show, Bushiroad also debuted the newest booster series to the English version of Weiss Schwarz, Attack on Titan. Interestingly enough, the English expansion booster set was released earlier than its Japanese counterpart, signifying the importance that the company places on their English customers.

Even though the convention is considered to be mainly a TCG, board game, and “pen and paper” RPG focused convention, I was surprised to find that there were more anime goods vendors than last year. However, in comparison, the anime section of the convention was lacking. This year there was no Anime Artist Alley and overall the hotel that was used to host the majority of the events seemed rather empty. The other hotels and the main convention center used for Gen Con, however, were very crowded.

As with every year, Gen Con continued to host a costume parade and costume contest. However, as the convention has grown, it is obvious that the costume contest’s popularity had soared and spots were filled by early Friday morning; with only seventy open spots and perhaps one or two additional entries for participants from the waitlist. Gen Con might benefit from pre-screening entries (e.g. having entries be submitted before con with pictures and descriptions) instead of continuing its first-come, first-served only policy. Although many of the cosplays were fantastic, there were a few that were store bought or simply were not of the same caliber of the quality of the other costumes on stage. While some individuals with lackluster cosplays managed to get in due to submitting their entries early around Thursday, the first day of the convention, others who were on the waitlist with handmade, fantastic cosplays were denie

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d.

With the rising amount of attendees each year, Gen Con is sure to get more and more attendees who are interested the niche markets such as anime and pop culture. Hopefully next year, the staff will have a stronger idea of what they want to do with the anime section of the convention and continue to bring voice acting guests. Overall, Gen Con continues to be a strong convention for those with a passion for anything in the realm of tabletop gaming and proves to be a fun time for all.

Rie Tanaka Cosplay on FFXIV 2015 Live Stream Event

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News Rie FFXIV

Celebrating it's second anniversary, Square-Enix held a 14 hour long stream that was filled with update news for upcoming changes and patches, to answering questions from fans. During one segment, voice actress veteran Rie Tanaka who voices Kan-E-Senna and Garuda in FFXIV, made a surprise appearance dressed up in the Thavnairian Bustier set from the game. Tanaka is probably best known for her roles as Lacus Clyne from Gundam Seed, Chii from Chobits, Suigintou from Rozen Maiden, and Mitsuru Kirijou from Persona 3.  

Tanaka is no stranger to cosplay as in the past she has cosplayed as some of the characters she voices. As you can see, Yoshida had to put on his glasses when she got up to show the camera her cosplay.

 

Later, Tanaka also showed her design for the FFXIV hair design contest that's open to the public. Her theme was based after the magical girl concept.

rie design

Danganronpa Another Episode: Ultra Despair Girls (Vita) Review

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Dangan Ronpa Another Episode: Ultra Despair Girls Review

As the latest entry into its ongoing saga, Danganronpa Another Episode: Ultra Despair Girls shelves away all of the trials, relationship building and evidence collecting from the main flagship titles and replaces them with an action-packed third person shooter (TPS) spinoff that focuses on Makoto Naegi’s sister Komaru and Toko from the first game. Considering that the game was taking away what many considered quintessential pieces of the series, many fans including myself, were worried that something would be lost in developing the spin-off as a TPS rather than as a full-fledged third adventure title.

Thankfully, it’s not just that. Instead, what we have here is a title that’s easily worth it of the Danganronpa series title that serves as an important link between Danganronpa 1 and 2, along with setting up future events for the upcoming third adventure title. A lot of what helped make Danganronpa popular amongst niche gamers in the first place were retained in the series’ transition into the TPS world, including tons of collectibles, stylized gore, a hint of mystery and a wonderfully intricate plot involving the pressures and challenges that children face growing up in an imperfect society.

ultra despair girls ss 1

Focused on issues such as pedophilia, living up to your parents’ expectations and being shunned for not being an ideal child, the writers of Danganronpa don’t disappoint in this iteration of the series either and it’s a refreshing change of pace to the less plot focused Gears of War and Resident Evils of the world. With heavy issues such as these, the game retains the series’ delicate balance of fan service and story as players guide Komaru through various challenges and trials through a city overrun by Monokumas. As the main antagonists of the game “the Warriors of Hope,” who strive to create a paradise for children where no adults live, offer a surprising amount of character depths as villains. This includes a main antagonist who ranks up there with the main villain of the first two games and an amazing ending sequence where everything neatly comes together, even if it feels a tad bit rushed. Although the game is split into five chapters, in addition to a prologue/epilogue, much of it feels like a “monster of the week” type formula where each episode focuses on one individual Warrior of Hope.

While Ultra Despair Girls takes a much broader approach to the series’ overall world, including the ‘tragedy’, there’s still plenty of character development for both Toko and Komaru for fans of well written stories. The only caveat, there’s tons of dialogue for a shooter which occasionally breaks the tension and intensity of the game’s overall pace. In addition, although the game is very linear in nature, often consisting of going from Point A to Point B with minimal exploration, there’s plenty of puzzles to help break up the monotony; just don’t expect anything similar to the trials and logic sequences from the main titles.

ultra despair girls ss2

Utilizing Komaru’s hacking megaphone, players unlock more truth bullets as they level up and progress, a majority of the puzzles consist of defeating enemies in a certain way with specific ammo and conditions. An example would be to defeat all the enemies using only one bullet or defeat them all using electricity. There’s also an investigation style bullet, called ‘detect’, where players try to find clues to solve riddles, but there were only a handful of these sequences throughout. The truth bullets themselves can be upgraded through purchases at the game’s shop, which allows you to upgrade Toko’s attacks as well.

For those of you familiar with Danganronpa: Trigger Happy Havoc, Toko can transform into Genocide Jill using the power of a stun gun, and functions as the game’s melee attacker. As she attacks with scissors, a lot of her attacks consist of combos and charging up along with a “fever” attack which allows her to defeat multiple enemies at a time. As with the Truth Bullets however, there is a limit to how long you can use Jill for. Although I personally finished the game on the highest difficulty, which for those familiar with shooters won’t find as a challenge, the lower difficulties feature more ammunition and chances to use Jill which makes it a breeze for players who want to breeze through the game just to enjoy the storyline or are new to shooters.

ultra despair girls ss3

In addition, fans of the prior Danganronpa titles will notice a lot of returning music tracks in the game’s otherwise excellent soundtrack; providing a nice hit of nostalgia. While there are only a few new tracks, the most memorable being the theme for the Warriors of Hope and the urban-inspired background track, Masafumi Takada’s return to form blends in perfectly with the rest of the series’ memorable compositions. The sole blemish from the game’s presentation is the lack of a Japanese dub, although the English voice actors do a more than adequate job with the characters’ wide range of emotions.

All in all, Danganronpa Another Episode: Ultra Despair Girls is yet another solid entry into the series. Although it won’t win over any new fans, the game’s curious experimental decision to create something different is a general success for those who are already familiar with the series. It isn’t the most innovative shooter out there, but it doesn’t need to be. Ultra Despair Girls embraces the Danganronpa series for what it is and is a sort of love letter out there to the fans. With a wonderful cast of characters and a sharply written script, it also provides a much needed entry that ties together threads and sets up any future events. I know that I for one am really looking forward to seeing where the series goes from here.

The O rating B

Pros:

- Memorable cast of characters and a well written script...for a shooter
- Masafumi Takada's memorable soundtrack
- Surprisingly deals with heavy issues, centered around adolescents

Cons:

- Game is extremely easy, even on higher difficulties
- Predictable shooter, with your typical run-of-the-mill third-person shooter style gameplay
- The first four chapters/episodes utilize a "monster of the week" style

Isuna Hasekura Interview @ Anime Expo 2015

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isuna hasekura anime expo 2015 interview

As the creator behind the award-winning light novel series, Spice and Wolf, Isuna Hasekura has quickly penned his way into the minds of anime fans worldwide through writing classic storylines focused on economics and how it influences the world. Aside from Spice and Wolf, his portfolio also includes the visual novel World End Economica, which was recently translated and published by Sekai Project. We had a chance to interview him during Anime Expo 2015 and had a chance to ask him about what shaped his work as well as his thoughts about the English translation for World End Economica.

T-ONO: You once said you had hoped to be a manga artist, but became an author instead. What originally drew you to write economics-focused stories instead of other genres? Do you have any genres you particularly like to read? Any favorite books?

Hasekura: Personally I found it difficult to draw, but with a novel I could start writing right away.

I chose to write about economics because it is an interesting subject, like a puzzle. For example, when the U.S. Dollar grows in value in relation to the Japanese Yen, or other currencies, it will change too while other economies that aren’t as connected to the dollar will not. It's a puzzle because one factor affects a whole number of other things and you see what changes and what doesn't. That's what I like about it.

My three favorite genres, in order are economics, anything history related and neurology. My favorite book is Tom Wolfe's The Bonfire of the Vanities.

T-ONO: What has been the most fun part about crafting new world settings and economic systems? Have there been any special things you have used to help you along the way? Any examples?

Hasekura: Truthfully, I don't create original settings and systems. Most of them come from researching historical reference books and other sources of information.

What I find interesting is that I have to consider the everyday lives of the people living in each world. Take the type of clothing someone would wear for example. It's not just "draw the clothing" and you're done. I had to think about what kind of material it was made of (cotton, wool, etc.) and furthermore how the people would take care of the sheep, what tools they would use to harvest the wool and so on. The cycle of buying, selling and creating materials to make more materials, along with everyday items, is what I find fascinating.

T-ONO: Unlike some of your other stories, Billionaire Girl is set in the modern era instead of a historical world. Was there a specific reason for this? Between historical, modern era and future sci-fi worlds, which do you enjoy writing about the most?

Hasekura: The reason I chose the modern era for Billionaire Girl was that I wanted readers to make more sense of the story. A character could buy an expensive car, clothes or invest in the stock market and the readers would immediately understand. Although I still like writing historical stories more as it is typically the opposite of the modern era, we don't fully understand it. While the modern era might be more relatable we only know so much about the past eras from historical documents and paintings. We often have to use our imaginations more to think about how things were two or three centuries ago.

isuna hasekura anime expo 2015 interview 2T-ONO: Some of your more recent works like Billionaire Girl and World End Economica feature the stock market. While researching, did you dabble in stocks yourself? What were the results?

Hasekura: I've had an interest in stocks for a while so it wasn't just because of these two stories. I tried my hand at the American stock market, the Nikkei (Japan) and Hong Kong stocks, and did pretty well.

T-ONO: What led to the creation of Spicy Tails? Do you have any fun stories about your work with them? Can you give any hints about future projects?

Hasekura: I actually wanted to create an indie game for a long time and it just happened to come together for this project. I don't know if it's a funny story, but as time went on the amount of sleep I got became less and less and things got more and more difficult.

I'd like to do something with the Oculus Rift head-mounted display. I don't know just what that might be; real time speculation, perhaps? Just a thought.

T-ONO: World End Economica's Hal is younger than other male protagonists in your works like Kraft Lawrence from Spice and Wolf and Kusler from Magudala de Nemure. Was there any difficulty in writing for Hal versus your other characters?

Hasekura: It was difficult because clearly I am not a teenager anymore. I had to find ways to show Hal messing up or doing things that are definitive of his age.

T-ONO: Spice and Wolf's light novels are almost at the end of its English run. How have interactions with English speaking fans changed from its debut to now? Any particularly interesting/memorable conversations with fans?

Hasekura: This is the first time I've been to an event outside of Asia so I have not had too much contact with English-speaking fans. What I can say is that there is a big difference between Eastern and Western fans. A few years ago I went to an event called Fancy Frontier in Taiwan which was held on a university campus. A lot of the fans who visited me were in their high school and college years. Here at Anime Expo I have noticed that it is an older crowd and that the level of enthusiasm is several times stronger than it was in Taiwan. From time to time I do receive letters from Chinese speaking fans, but there have not been too many from English fans.

T-ONO: The World End Economica Kickstarter gained over four times its original funding goal. Did you expect that reaction from your fans?

Hasekura: It caught me completely off guard. I thought it would at least reach the goal amount, but I never thought it would quadruple that number.

It would have made more sense for this to happen over in China or Taiwan because there are many more people who are supportive of my work there. Since I had very little interaction with English fans, I had no way to gauge why it was so popular. My most well-known work, Spice and Wolf, is already several years old. From what I've read though, the English-speaking community may be small in number, but their passion is just overwhelming. They are very dedicated.

T-ONO: Would you like to send a message to your fans and backers of the Kickstarter?

Hasekura: I just want to thank all my fans for supporting my work. Thank you to all the Spice and Wolf fans who, even though it is an older series, still support it to this day.

T-ONO: And finally, what are your thoughts on the following?

isuna hasekura anime expo 2015 interview 3

Hasekura: I've seen him before on the internet. I actually saw someone at yesterday's signing who had the same pop-up and thought it was him at first, but it was someone else. When I first saw this I was very happy. If he ever comes to Japan and we have the opportunity I would love to meet him.

The GazettE’s first US tour to stop by San Francisco

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The GazettE’s first US tour to stop by San Francisco

The GazettE, first founded in 2002, is a visual kei rock band that has toured the globe but for some reason never found their way to the States. 2016 marks the year they fix that with four shows, two of which are in California. Tickets range from $50 to $200 depending on if you want VIP. The tour was hinted at by snippets of shows popping up and quickly disappearing from venue ticket sites before finally made official in the beginning of the year.

Their latest album, “DOGMA,” was released in August 2015. It is the culmination of more than thirteen years of music and as hard as you might want without getting too harsh. Aesthetically they are somewhat similar to DIR EN GREY that they started as a full-blown visual kei band before transitioning to a more subdued modern look. The entire project is titled “DARK AGE” and consists of “DOGMA” itself and a series of single releases and tours following it. The American leg of the tour is designated the 7th movement as part of “World Tour 16 DOGMATIC –TROIS–.” The band will also release a single on the 27th titled "UNDYING" which is the 6th movement. It contains three all-new songs. Time will tell whether we will get to see these songs live as part of the set. There are still more movements remaining until “PROJECT: DARK AGE” ends for a total of twelve.

The San Francisco show will be held on May 1st at the Regency Ballroom which has played host to Japanese musicians like DIR EN GREY, Kyary Pamyu Pamyu, and many others. Tickets for the Regency Ballroom are available through Goldenvoice/AXS as well as through The Warfield's box office on Sundays. They are $50 before the show and $60 at the doors.

The full list of dates are as follows:

4/15 Mexico City, MX – Teatro Metropolitan
4/20 Beunos Aires, AR – Teatro Vorterix
4/22 Sao Paulo, BR – Audio Club
4/25 Dallas, TX – The Bomb Factory
4/27 Toronto, ON (CA) – The Danforth Music Hall
4/29 New York, NY – Playstation Theater
5/1 San Francisco, CA – The Regency Ballroom
5/3 Los Angeles, CA – The Wiltern
5/5 Vancouver, BC (CA) – Vogue Theater

MIKU EXPO returns to California

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MIKU EXPO returns to California

Hatsune Miku needs no introduction. She's played a few times in the United States as part of MIKU EXPO and Anime Expo's Mikunopolis and now she's back for her biggest tour yet. I skipped the previous tour in 2014 as it was in Los Angeles. This time San Francisco is included among the ten cities and fifteen shows that consist of the North America leg of MIKU EXPO.

The electronic diva will appear live in San Francisco on April 30 at The Warfield. It's a Saturday double-header with one show in the afternoon and another in the evening giving fans a great opportunity to see her. The concert is not the only attraction and San Francisco, or more accurately the San Francisco Bay Area, will also play host to a variety of other Miku related events.

The first tie-in events are called "MIKU EXPO Digital Stars" and will feature a variety of DJs and producers as well as special goods only available at each event. They serve as precursors to the main MIKU EXPO concerts for Seattle, San Francisco, Los Angeles, and New York. San Francisco's Codeword will host the event on April 29th on the night before the concert.

Bookstore Barnes and Noble teams up with Crypton in presenting the "MIKU EXPO Let's Draw!" workshops. The event will include a Miku drawing workshop, an art exhibition, and free giveaways. There will be one in Emeryville on April 28th and one in San Jose on May 2nd. The reason for not holding an event in San Francisco proper is that there are unfortunately no more Barnes and Nobles in the city.

Also of note is the "MIKU EXPO Tour Sticker Hunt!" Most of these stickers will only be available at the "Let's Draw!" events and a few others will be at places like Kinokuniya bookstores. They're actually pretty cool and I wish I had the time and money to collect them all. The stickers feature Miku and the gang in various location-related motifs like Luka posing as a Starbucks mermaid for Seattle and an astronaut Miku for Houston. The two San Francisco ones include Rin with 70s-style ribbon art and an image titled "Crossroads" where all things come together under Miku. The whole list can be seen below.

mikuexpo stickers

A batch of short films will be available for viewing in San Francisco, Toronto, and Mexico City. Music videos, the Mikumentary, and something called "#UltraMiku Special Edition!" are counted among the clips. The total run time is 70 minutes and tickets will run you USD$10, CAD$20, or MXN$90. The San Francisco showings are all on Sunday, May 1st at Japantown's New People Cinema.

Here's your San Francisco cheat sheet:

4/28 (Th) - Emeryville, Barnes and Noble - MIKU EXPO "Let's Draw!"
4/29 (F) - San Francisco, Codeword - MIKU EXPO Digital Stars
4/30 (Sa) - San Francisco, The Warfield - MIKU EXPO concerts!
5/1 (Su) - San Francisco, New People Cinema - MIKU EXPO Short Film Festival
5/2 (M) - San Jose, Barnes and Noble - MIKU EXPO "Let's Draw!"

A solid five days of Hatsune Miku.

There's also a boatload of goods including t-shirts, hats, bags, and more. Check them out:mikuexpo merchandise

As is my custom I will be walking out with at least a t-shirt. I'm also looking forward to the special concert posters that are exclusive to each event.

Tickets are still available for San Francisco through Goldenvoice/AXS. They range in price from $50 for balcony to $80 for general admission floor and $150 for VIP. Each attendee will receive a free glowstick and the VIP package gets you early access, some special merch, and a VIP lanyard.

We'll be back after the dust settles for full coverage of the events! Have fun and hope to see you there!

MIKU EXPO Concert Series

4/23 Seattle, WA - WaMu Theater
4/30 San Francisco, CA - The Warfield (day and night shows)
5/6 Los Angeles, CA - Microsoft Theater
5/14 Dallas, TX - The Bomb Factory
5/17 Houston, TX - NRG Arena
5/20 Toronto, ON (CA) - Sony Centre for the Performing Arts
5/25 Chicago, IL - The Chicago Theater
5/28 New York, NY - Hammerstein Ballroom (day and night shows)
6/1 Monterrey, MX - Auditorio Banamex
6/4 Mexico City, MX - El Plaza Condesa (day and night shows)
6/5 Mexico City, MX - El Plaza Condesa (day and night shows)

MIKU EXPO Digital Stars

4/22 Seattle, WA - FRED Wildlife Refuge feat. Mark Redito, Pete Ellison, Meishi Smile, Boaconstructor, Hojo
4/29 San Francisco, CA - Codeword feat. Qrion, Airynore, Grimecraft, Seimei
5/5 Los Angeles, CA - The Lash feat. Mark Redito, Meishi Smile, Φrkestrate, 2ToneDisco, TDoyle, DZZ, B&L All Stars
5/27 New York, NY - Littlefield feat. Hachiojo P and others

MIKU EXPO Let's Draw!

4/24 Seattle, WA - Northgate Mall
4/26 Portland, OR - Clackamas Town Center
4/28 Emeryville, CA - Emeryville
5/2 San Jose, CA - Stevens Creek Boulevard
5/4 Los Angeles, CA - Huntington Beach
5/8 San Diego, CA - Mira Mesa
5/10 Austin, TX - Arboretum
5/12 Dallas, TX - Lincoln Park
5/15 Houston, TX - River Oaks Shopping Center
5/23 Chicago, IL - Old Orchard, Skokie (with Hachioji P)
5/27 New York, NY - Tribeca (with Hachioji P)

MIKU EXPO Short Film Festival

5/1 San Francisco, CA
5/21 Toronto, ON (CA)
6/3 Mexico City, MX

Grand Kingdom PS4 Beta begins today

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Grand Kingdom PS4 Beta begins today

Grand Kingdom Beta officially begins TODAY! NIS America will host the Playstation 4 beta from May 3-10th.  May 9th will be the last day to sign up for the beta.

You can sign up for the beta by heading over to the Grand Kingdom official website.

The beta includes access to four out of eleven character classes (Fighter, Hunter, Witch, and Medic), two quests from the single-player campaign, and three online war battles per day. Players who participate in the beta will be able to keep all their save data, including their squad members and mercenary money, for the full release. However, the online war scenario will be reset once the beta is over. Grand Kingdom will launch on Playstation 4 and PS Vita on June 17 in Europe and June 21 in North America.

Watch the new trailer for Grand Kingdom below featuring the game's online system.

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Persona 5 Japanese Release Date Announced

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Persona 5 Japanese Release Date Announced

Persona 5 will launch for PlayStation 4 and PlayStation 3 in Japan on September 15, and while Atlus still has not confirmed a date for the West, the game is still expected to be released potentially sometime in 2016. Pre-orders will open on May 6 at 10:00 JST.

 P5 Dated Sept 15 Pixlr

A 20th anniversary-themed Collector's Edition was also announced for Persona 5 in Japan 13,800 yen and will include the following content:

p5 limited pixlr

A copy of Persona 5
Persona 5 art book - B5 size hard-cover Shigenori Soejima-illustrated special binding
Persona 20th Anniversary All-Time Best Album (five CDs)

Disc 1: Shin Megami Tensei: Persona
Disc 2: Persona 2: Innocent Sin / Persona 2: Eternal Punishment
Disc 3: Persona 3 (FES)
Disc 4: Persona 4 (The Golden)
Disc 5: Persona 5

Special Collaboration DLC Set #1: “Orpheus Picaro” and “Izanagi Picaro” Personas and special skill set
Special Collaboration DLC Set #2: Persona 3 “Gekkoukan High School Uniform” costumes and Persona 3 battle BGM single set
Special Collaboration DLC Set #3: Persona 4 “Yasogami High School Uniform” costumes and Persona 4 battle BGM single set
Shigenori Soejima-illustrated Special Custom Theme
Special Persona 5 Art treasure box.

In addition to the game’s release date, Atlus revealed today that the persona 5 anime, officially titled Persona 5 the Animation: The Day Breakers, will premiere in September.

Atlus also confirmed that Persona 5 will make an appearance at E3 2016, which runs from June 14th to the 16th in Los Angeles.

E3 Persona

Check out a new trailer and and video interview revealing new characters and game play. View the relaunched website here.

Trailer

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Staff Interview

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MIKU EXPO Concert in San Francisco

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MIKU EXPO Concert in San Francisco

Hatsune Miku needs no introduction for most fans of Japanese culture. For those who aren't fans of Japanese culture, or are fans but have somehow been living under a rock for the last half a decade, she's a virtual voice given life by fans. Her teal twin ponytails and futuristic appearance hide within them a surprisingly versatile voice. On April 30, 2016, Hatsune Miku would make her northern California debut at San Francisco's Warfield theater.

This is not Miku's first time in the United States. She played at the 2011 Anime Expo in Los Angeles when Vocaloid was at a fever pitch. That show sold out the entirety of Nokia Theater (now Microsoft Theater) and remains the only concert in Anime Expo history to do so. Three years later in 2014 Miku would hold concerts in two venues; the first would be in Los Angeles, again at the Nokia Theater, and the second at New York's Hammerstein Ballroom. The 2016 MIKU EXPO takes things to an even greater level upon its return to North America and boast a total of fifteen concerts in ten cities (including a stint in Canada and Mexico). Most of the locales holding concerts, and some which aren't, will also hold satellite events like a film festival and drawing sessions. For more on these, please look here.

Before we get any further I'd like to address the "what/who is Miku?" question. Miku is everyone and everything. Miku is who you want her to be. Miku is a collaboration. She's a character with a voice and that voice sings and says whatever you want it to. Everything starts with a musician or producer needing a vocalist and that's where Miku fills in. Once you have a complete song someone is bound to create a visual in the form of a character design. After that, a music video. Many musicians, producers, artists, and editors have never met each other in person but they come together under one word, one name: Miku.

miku01

That's what gives Vocaloid its strength.

Today the historic Warfield theater in downtown San Francisco would hold a daytime concert followed by an evening concert. Only two other cities would receive this treatment and I'm glad San Francisco was one of them. This gave you flexibility; if you couldn't make the daytime show because it was too early and you were coming from afar the evening show was your choice. If you were like me and packing your weekend (and the surrounding days) with events then the daytime concert helped spread things out. Unfortunately my DSLR would have to stay home (no photo passes are available for any of the shows) and that means calling in a five year old point-and-shoot camera. I probably could have just taken the DSLR anyway as there were people spending the whole show with one arm holding a camcorder in the air, though...

The weather was bright and sunny with temperatures in the 70s. Perfect day for a concert. Electronic band Anamanaguchi would serve as the opening act for the digital diva and their music fits very naturally with each other. If you can time it correctly, you can jump out of the room and hit the merch table towards the end of their set and avoid the oncoming rush of people during the break. This is probably the best time to buy because before the show, during the break, and after the show were absolutely packed with people. I walked out with the Miku-on-a-Negi shirt and San Francisco poster. Each concert will have its own unique poster and yes, they do give out poster tubes!

The heart of a Hatsune Miku concert, besides Miku herself, is the holographic display screen and the whole reason Miku can appear on stage. It's set up in the middle of the stage and this is how Miku and her compatriots appear. Viewing angles are roughly 140 degrees but towards the sides the fact you're looking at a psuedo-3D image on a 2D plane becomes evident. Stay out of the extreme sides and you should be fine. One fun thing about the display screen is that glowsticks reflect off it which has the effect of effectively doubling the number in the room.miku02

In Japan, the use of glowsticks at anime concerts is a core tenet. In America that's not really the case but there's an easy fix for that. Every attendee who walked through the door of the Warfield theater was granted a glowstick or two (gotta have one for each hand!) to join the rest of the crowd. Veterans either brought their own King Blade LED wands or bought the official ones. Official ones were available online for a short period of time as well as a small quantity at the venue. The official ones were tuned to the program and automatically changed color depending on the song (that or everyone is really good at quickly color syncing and I didn't notice). As for what you do with the glowsticks? Pump your fists in the air to the beat and have fun. Every song has its ebb and flow and that's what you'll work with. If in doubt, follow the crowd. A more advanced set of movements involve complex twirls, arm swings, thrusts, and jabs but you should leave those for later. For those who wish to go down that rabbit hole look up “wotagei.”

First up was an intro for the whole Vocaloid cast that would be joining us this afternoon. Vocaloid is not just Hatsune Miku. She has compatriots in her forebears Kaito (themed blue) and Meiko (red), siblings Rin and Len (yellow), and contemporary Megurine Luka (pink). The Vocaloid would not be the only ones on stage and a live band would provide the music, although with a more rock-oriented slant thanks to the band's instruments. That's part of what makes a Miku concert different than just listening to the songs at home. The arrangement is different when it's live and you get to be amongst hundreds of others who love the same thing you do. You could tell the crowd were fans from the chants of "Miku! Miku!" and "I love you, Miku-chan!"

There are hundreds, thousands, of Vocaloid songs out there that makes selecting a set very difficult. Safe bets would be on hyper popular songs like "World is Mine," "Love is War," and "Magnet." Some English songs were sprinkled in like "Ten Thousand Stars" and "Glass Wall." Each of Miku's fellows also showed up with selections like "Remote Control" performed by Rin and Len and "Change Me" performed by Meiko. Many fans knew the words to the songs and even the scant opening bars of a song could trigger an outburst from them as they recognized a favorite. The selection heard tonight is only a fraction of the whole and there is enough material for dozens of concerts. Miku could easily perform a completely different set at every single Miku Expo stop without breaking a digital sweat.

miku04

The theme for the 2016 MIKU EXPO is "Blue Star" by HachioujiP and would mark the end of the main set. A few unfortunates walked out during the break between that and the encore. Lesson: never leave until the lights turn on and they're trying to kick you out. Fans chanted "An-core-ay!" (the rough pronunciation of encore in Japanese) and "Miku! Miku!" until she reappeared on stage. The three-song closer included the 2014 MIKU EXPO theme "Sharing the World" by BIGHEAD and a couple other songs. The very final song would have Miku, seated at a piano, playing a somewhat somber tune. All good things must come to an end and this was ours. Just as easily as she appeared in a cascade of color and light Miku exited the stage in the same manner, this time for good. Thankfully she is an ideal that lives on in the hearts and minds of millions and can never truly be gone. Chances are we will meet again. After today's showing, I hope we have made an impression on Crypton to come back to San Francisco in the future.

miku07 END

Bottom line? If you're nearby, you owe it to yourself to go see it. You're in for a good time. Los Angeles, you're up next.

LIVE BAND:

Drums: Kensuke Itou
Bass: Tsuguhito Konno
Guitar: Takahiro Misawa
Keyboard: MEG.ME

SET LIST:

1 World is Mine feat. Hatsune Miku (by ryo/supercell)
2 The Disappearance of Hatsune Miku feat. Hatsune Miku (by cosMo)
3 Two-Faced Lovers feat. Hatsune Miku (by Wowaka)
4 Unhappy Refrain feat. Hatsune Miku (by Wowaka)
5 World’s End Dancehall feat. Hatsune Miku & Megurine Luka (by Wowaka)
6 Magnet feat. Hatsune Miku & Megurine Luka (by Minato)
7 Weekender Girl feat. Hatsune Miku (by HachioujiP and kz(livetune))
8 Deep Sea Girl feat. Hatsune Miku (by Yuuyu)
9 Glass Wall feat. Hatsune Miku (by Guitar Hero Piano Zero)
10 Snowman feat. Kaito (by halyosy)
11 Change Me feat. Meiko (by shu-t)
12 Tokyo Teddy Bear feat. Kagamine Rin (by neru)
13 Butterfly on Your Right Shoulder feat. Kagamine Len (by noripy)
14 Remote Control feat. Kagamine Rin & Len (by JesusP)
15 Love is War feat. Hatsune Miku (by ryo/supercell)
16 Last Night, Good Night feat. Hatsune Miku (by kz(livetune))
17 Ten Thousand Stars feat. Hatsune Miku (by CircusP)
18 Just be Friends feat. Megurine Luka (by Dixie Flatline)
19 Secret Police feat. Hatsune Miku (by BuriruP)
20 The Singing Passion of Hatsune Miku feat. Hatsune Miku (by cosMo)
21 Sekiranun Graffiti feat. Hatsune Miku (by ryo and Dixie Flatline)
22 Tell Your World feat. Hatsune Miku (by kz(livetune))
23 Blue star feat. Hatsune Miku (by HachioujiP)
Encore 1 Sharing the World feat. Hatsune Miku (by BIGHEAD)
Encore 2 39 feat. Hatsune Miku (by Deco*27 and Sasakure.UK)
Encore 3 Star Fragment feat. Hatsune Miku (by Eiji Hirasawa)

FULL EVENT SCHEDULE:

MIKU EXPO Concert Series

4/23 Seattle, WA - WaMu Theater
4/30 San Francisco, CA - The Warfield (day and night shows)
5/6 Los Angeles, CA - Microsoft Theater
5/14 Dallas, TX - The Bomb Factory
5/17 Houston, TX - NRG Arena
5/20 Toronto, ON (CA) - Sony Centre for the Performing Arts
5/25 Chicago, IL - The Chicago Theater
5/28 New York, NY - Hammerstein Ballroom (day and night shows)
6/1 Monterrey, MX - Auditorio Banamex
6/4 Mexico City, MX - El Plaza Condesa (day and night shows)
6/5 Mexico City, MX - El Plaza Condesa (day and night shows)

MIKU EXPO Digital Stars

4/22 Seattle, WA - FRED Wildlife Refuge feat. Mark Redito, Pete Ellison, Meishi Smile, Boaconstructor, Hojo
4/29 San Francisco, CA - Codeword feat. Qrion, Airynore, Grimecraft, Seimei
5/5 Los Angeles, CA - The Lash feat. Mark Redito, Meishi Smile, Φrkestrate, 2ToneDisco, TDoyle, DZZ, B&L All Stars
5/27 New York, NY - Littlefield feat. Hachiojo P and others

MIKU EXPO Let's Draw!

4/24 Seattle, WA - Northgate Mall
4/26 Portland, OR - Clackamas Town Center
4/28 Emeryville, CA - Emeryville
5/2 San Jose, CA - Stevens Creek Boulevard
5/4 Los Angeles, CA - Huntington Beach
5/8 San Diego, CA - Mira Mesa
5/10 Austin, TX - Arboretum
5/12 Dallas, TX - Lincoln Park
5/15 Houston, TX - River Oaks Shopping Center
5/23 Chicago, IL - Old Orchard, Skokie (with Hachioji P)
5/27 New York, NY - Tribeca (with Hachioji P)

MIKU EXPO Short Film Festival

5/1 San Francisco, CA - New People Theater - 12PM/130/3/430/6
5/21 Toronto, ON (CA) - Jackman Hall at the Art Gallery of Ontario - 1130AM/130PM (with Crypton CEO Hiroyuki Itoh)
6/3-6/5 Mexico City, MX - Cinemex Reforma - 1PM/3

MIKU EXPO Satellite Events in Review

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MIKU EXPO Satellite Events in Review

The concerts of MIKU EXPO 2014 were accompanied by what was more or less a Hatsune Miku village full of exhibits, merchandise, music, and lots of fun. Fans in Los Angeles and New York were treated to a unique experience. This year's MIKU EXPO is going to be a bit different. Being that the expo will stop at ten cities there won't be anything as grandiose as a village. In its place will be a variety of satellite events all featuring Miku. San Francisco happens to be the only location in the entire tour that has every event and I'll be giving you a quick rundown of each.

For a writeup of the San Francisco concert, please check out the article here.

The first event of note is the MIKU EXPO Let's Draw! events held at Barnes and Noble bookstores. It's important to note when each of the Let's Draw! events is because some are before concerts, some are after, and some are at locations that will not have a concert at all like San Diego (Los Angeles serves as the concert stop) and Austin (Dallas and Houston are concert stops). Some concert stops do not have a Let's Draw! at all like the Canada and Mexico concerts. Why should you show up? One, it's fun, and two, you can get exclusive stickers. Each sticker is themed to the area and incorporate fun visuals like Statue of Liberty Kaito and a hotdog-eating Miku. I wish I had the opportunity to get them all (wink wink, nudge nudge, Crypton). Areas with Kinokuniya bookstores will also have a store-specific sticker available on concert days and will be selling Miku goods throughout the month. Check them out below:

kinokuniya

mikuexpo stickers50

There were two of these events in the San Francisco Bay Area that served to both open and close MIKU EXPO's time there. The first was in Emeryville on April 28 and the latter in San Jose on May 2. As the Emeryville event was a bit too early in the day I was unable to attend but thanks to one of the booksellers was able to procure one of the coveted San Francisco stickers. I was able to attend a small portion of the San Jose event after driving down from San Francisco and, following the tell-tale sound of Miku's voice, located the area where Let's Draw! was happening. A series of tables covered in colored pencils and markers, a Miku backdrop, and some examples of finished art were set up. I tried my hand at drawing and while I didn't have much time to think up a concept or fully execute said concept still came out okay. If time is available in the coming month I may revisit my efforts. The combined mass of drawings will eventually be compiled into a video at the end of the tour by Crypton. It'll be interesting to see the gamut of talents by Miku fans! At the San Jose Barnes and Noble there was also a Miku-themed drink available from the cafe.

letsdraw01     letsdraw02     letsdraw03

meds

Serving as a precursor to four of the concerts are the MIKU EXPO Digital Stars club events. These events are held in conjunction with HSSB (anime goods retailer Hobby Stock's offshoot skateboard brand) and feature a variety of local and not so local musicians and DJs. Alas, given the timing I did have to skip the SF stop but with a lineup including Bay Area DJs Grimecraft, airynore, and Seimei, and Japanese DJ Qrion, looked like a good show. Digital Stars exclusive loot in the form of t-shirts, banners, and more will be available at each event. Upcoming Hatsune Miku skate decks will be on display by HSSB.

MESFF

The final event of MIKU EXPO is the Short Film Festival. A selection of Hatsune Miku PVs featuring pixel art, 2D animation, and 3D animation were interspersed with the 2013 Mikumentary (a documentary detailing who Hatsune Miku is and what she's all about) and the 2014 UltraMiku. That last one tells the saga of three intrepid Japanese and their coast-to-coast driving journey from Los Angeles to New York during the previous MIKU EXPO. Think an Ultra Marathon, but way more fun. The #ultramiku hashtag is still active on twitter and people are using it as the unofficial tag for any journey involving MIKU EXPO.

The San Francisco episode of the Short Film Festival took place at the New People Theater in the heart of Japantown. Total run time for the short film festival is 70 minutes and will also take place in Toronto and Mexico City. The Toronto screenings will feature Crypton CEO Hiroyuki Itoh, Q&A, and some exclusive merchandise. Tickets will run you USD$10, CAD$20, or MXN$90, depending on the locale.

If you're interested in any of the above mentioned events please take note of the dates and visit http://mikuexpo.com/na2016/events for additional details!

MIKU EXPO Concert Series

4/23 Seattle, WA - WaMu Theater
4/30 San Francisco, CA - The Warfield (day and night shows)
5/6 Los Angeles, CA - Microsoft Theater
5/14 Dallas, TX - The Bomb Factory
5/17 Houston, TX - NRG Arena
5/20 Toronto, ON (CA) - Sony Centre for the Performing Arts
5/25 Chicago, IL - The Chicago Theater
5/28 New York, NY - Hammerstein Ballroom (day and night shows)
6/1 Monterrey, MX - Auditorio Banamex
6/4 Mexico City, MX - El Plaza Condesa (day and night shows)
6/5 Mexico City, MX - El Plaza Condesa (day and night shows)

MIKU EXPO Digital Stars

4/22 Seattle, WA - FRED Wildlife Refuge feat. Mark Redito, Pete Ellison, Meishi Smile, Boaconstructor, Hojo
4/29 San Francisco, CA - Codeword feat. Qrion, Airynore, Grimecraft, Seimei
5/5 Los Angeles, CA - The Lash feat. Mark Redito, Meishi Smile, Φrkestrate, 2ToneDisco, TDoyle, DZZ, B&L All Stars
5/27 New York, NY - Littlefield feat. Hachiojo P and others

MIKU EXPO Let's Draw!

4/24 Seattle, WA - Northgate Mall
4/26 Portland, OR - Clackamas Town Center
4/28 Emeryville, CA - Emeryville
5/2 San Jose, CA - Stevens Creek Boulevard
5/4 Los Angeles, CA - Huntington Beach
5/8 San Diego, CA - Mira Mesa
5/10 Austin, TX - Arboretum
5/12 Dallas, TX - Lincoln Park
5/15 Houston, TX - River Oaks Shopping Center
5/23 Chicago, IL - Old Orchard, Skokie (with Hachioji P)
5/27 New York, NY - Tribeca (with Hachioji P)

MIKU EXPO Short Film Festival

5/1 San Francisco, CA - New People Theater - 12PM/130/3/430/6
5/21 Toronto, ON (CA) - Jackman Hall at the Art Gallery of Ontario - 1130AM/130PM (with Crypton CEO Hiroyuki Itoh)
6/3-6/5 Mexico City, MX - Cinemex Reforma - 1PM/3

A Look at Anime Expo’s Youth Protection Program

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A Look at  Anime Expo’s Youth Protection Program

As part of their 25th anniversary event Anime Expo and parent organization the Society for the Promotion of Japanese Animation has announced a new initiative titled the "Youth Protection Program" (YPP).  On the surface its intent is to provide a fun, safe place for its attendees but it has raised a number of issues including actual effectiveness, timing, and cost.  We will take a look at some of the benefits it brings about as well as some of the potential pitfalls.

UPDATE 5/20/16:

The SPJA has just announced an amendment to the Youth Protection Program making the requirement for background checks for press, artists, exhibitors, guests, etc optional.  The only persons required to undergo background checks are now SPJA employees and volunteers.  Undergoing the youth protection training is still encouraged.

 

 SPJA has laid out three goals for their Youth Protection Program:

• Increasing awareness about potential risks and recognizing each individual’s ability to help protect SPJA’s youth participants;
• Inspiring confidence and competence in identifying dangerous situations and behaviors; and
• Creating a safe and fun environment for SPJA’s youth participants.

The most obvious benefit of the Youth Protection Program is the creation of a safe place for attendees where they are able to enjoy themselves without worry.  SPJA states that they view the safety and security of all attendees as a top priority and has created a policy that is set to support this goal.  As part of these widespread reforms AX is requiring the following groups of people to undergo background checks:

1. Employees and volunteers (both staff volunteers and attendee volunteers)
2. Panelists, Performers, Guests of Honor & Guest of Honor or Performer Entourage (including managers, handlers, translators, drivers, assistants, etc)
3. Artist Alley Participants and any helpers
4. Exhibitors and anyone working their booth or assisting with setup/teardown
5. Press
6. Vendors

Note that there are two groups missing from the above list: industry attendees (non-guest/guest of honor - those who are guests or belong to exhibitor companies are covered in their respective groups) and general attendees. In addition to these background checks the first three groups are required to complete mandatory youth protection training.  Exhibitors, press, and vendors are encouraged but not required to take these courses.

chikaraThe SPJA introduces Chikara as the mascot for the Youth Protection Program. She would fit easily into any convention while clad in a tiger kigurumi onesie and having blue hair. Chikara will be featured at all of Anime Expo’s Safe Space locations and represents safety for all.

As part of the research for this article I have spent a great deal of time studying the various facets that involve the program including reviewing the Youth Protection Program and policy itself, going through all eight training courses (which is not required - different groups are only required or encouraged to take certain courses and not all of them), and searching for public reactions online. I desired to learn as much as possible about the Youth Protection Program and its effects on both those attending and those working Anime Expo.

The idea of a background check is nothing new and virtually all of us have been subject to one upon reaching gainful employment.  Anime Expo has chosen the National Center For Safety Initiatives (NCSI) as their background check provider of choice.  The NCSI is commonly used for groups like the coaches of youth sports and gymnastics where it makes a lot of sense. Coaches are people who build rapport with youngsters, become authoritative figures, and have extended personal interaction with children. They gain the trust of the kids who hang on their words so making sure they are not criminals who would take advantage of that trust is important.  

Anime Expo has decided to take things to a whole new level and becomes the first anime convention in the United States to require background checks on not only direct representatives of the convention but exhibitors, press, and independent artists who are traditionally not considered as being official parts of the convention or its parent companies.  It's reasonable to expect SPJA employees, AX staff volunteers, and AX attendee volunteers to receive background checks.  The choice to include exhibitors, press, and independent artists in background checks is an unprecedented one.

Many of the reactions to this requirement for almost all attendees to undergo background checks has been met with disdain.  Artists have been especially vocal about the situation and more than one has questioned their participation in the event:

17

18

Artists are seemingly caught in dilemma - their privacy and morals are pitted against the prospect of money.  At least one artist has decided to use the introduction of the Youth Protection Program as a means by which to exit the convention.  Submitting to a background check goes against something many of us have been taught: never volunteer information unnecessary.  Even if you have nothing to hide information freely given may be used against you by those who would do you harm.  

Speaking of information, let’s review what you are required to submit as part of the NCSI background check.  The NCSI’s website is not that forthcoming and I could not locate the information on it but by searching through other organizations who also use NCSI background checks it appears to require the following:

Social security number
Legal name and pseudonyms
Date of birth
7-year address history
Contact information
Gender
(In most cases) Government ID

That's a lot of information that many are not comfortable with sharing and none of this is mentioned by the SPJA.  This list should be correct as it is echoed by artists who have looked at the background check first hand:

01

What they do with your information is search through the following:

National criminal database
All available state sex offender registries
Social security number validation and address verification
OFAC federal terrorist database
County courthouse databases

This is a very thorough check.

One of the biggest complaints and issues seen is the timing of the Youth Protection Program and the absolute requirement that any of the groups who are listed as requiring background checks do so.  According to the Youth Protection Program the following will get you disqualified:

dq

This means the background check should weed out anyone who would be a danger to youths.  For many who have clean backgrounds the important part is the very first section.  In short, no background check, no application approval. For many of the groups such as artists and exhibitors they are already financially tied to the event.  Some have committed great resources and are forced to attend or be in the negative.  Others have already paid great sums and had their checks cashed by SPJA; they are locked in whether they like it or not.  

Everyone has been surprised by the addition of the YPP and the demanded compliance.  Some may not have bothered if the YPP was known long before they signed contracts or selected tables.  Interim SPJA CEO Ray Chiang offers only the following apology: "We understand that we are asking you to take on a significant burden during the busy season for events and we regret to have to make this request with such short notice."  This is common between emails received by two different groups, may be the same for all groups, and serves as little solace to those affected.

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16

Why not announce the Youth Protection Program and have everything go into effect this year but the background check requirement?  This would allow everyone who does not agree with forced compliance an opportunity to choose not to attend without monetary loss or prepare properly without being rushed.  It would also allow exhibitors to carefully plan how many personnel they would require as each one who enters the booth must be cleared via background check.

Communications from multiple exhibitors has stated that they are being quoted from $40-50 per background check.  This adds up quite a bit especially when taking into account the initial price of the booth space itself which is $1000 or more depending on the size of the booth.  Here are two examples:

24

25

Posts by artists have stated that they have not been asked for payment information when submitting their information for the background check.  This does lead to a discrepancy: why is one group being charged and not the other? They both help bring a lot to Anime Expo and make it the premier convention it is.

Just a few hours prior to this post AX finally clarified that staff, volunteers, and guests also have their background checks paid for by the SPJA. Unfortunately the reason why this information came to light is because a twitter user confronted them about it. The user then goes on to bring up some very valid points about the temporary staff that exhibitors gather for conventions:

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Exhibitors are currently tangling with the decision to shed or limit temporary staff as each one means another background check and the money required. This will impact attendees and their enjoyment of the exhibit hall and convention as a whole.  Friends and colleagues are often used as impromptu line control, 

It is currently unknown if press will be required to pay for their background checks but it is possible as the wording in the press section of the YPP is similar to the wording for SPJA employees/AX staff/AX volunteers, artist alley participants, and guests. With so many independent and small-scale press outfits that count themselves among the AX press corps this would be a greatly appreciated gesture of goodwill by the SPJA.

A recap on our currently possessed information:

GROUP

BACKGROUND CHECK?

WHO IS PAYING?

SPJA employees, AX staff, AX volunteers

YES

SPJA

Guests (and entourage)

YES

SPJA

Panelists and performers

YES

UNKNOWN

Artist alley and helpers

YES

SPJA

Exhibitors and all workers

YES

EXHIBITING COMPANY

Press

YES

UNKNOWN

Vendor

YES

UNKNOWN

Industry (non-guest, non-member of exhibiting company

NO

N/A

General attendee

NO

N/A

 As you can see there still a few unknowns on that table.  Hopefully AX will answer these questions in the near future as this can make or break many people’s enjoyment when surprise fees that they did not budget for appear. For groups like panelists they may even choose to forgo hosting a panel if it involves having to pay an additional fee along with undergoing the background check itself.

It is important to note that general attendees, one of the groups who do not receive background checks, are some of the most difficult to deal with.  This is a fatal flaw in the YPP: someone who believes they would be red flagged via background check can simply attend as a member of the general public and no one will be the wiser.

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Exhibitors, press, and vendors do however have the following option available to them.  They may:

“represent and warrant that all people, including themselves, that they designate to be present at SPJA events and activities on their behalf have been subject to a screening process that includes a criminal history background check (“Screened”)”

AND

“represent and warrant that after having been Screened, all people that they designate to be present at SPJA events and activities are deemed eligible to work at an event where youth are present, and would not be disqualified from service or participation at SPJA events under Section 5 (Disqualifying Criteria).”

We have been unable to locate information that specifically states what the above two statutes mean for their respective groups and what actions will prevent violation of the Youth Protection Program.  After carrying out the necessary checks, is the signing and submission of the form sufficient? The emails that have been received by groups so far do not clearly indicate what to do.

UPDATE: We have received word from our affiliates that signing and submitting the affadavit/contract addendum will be sufficient in the eyes of the SPJA and they will not follow up past this.  If you say you have done checks, you have done checks.  This should hold true for all three groups with this option (exhibitors, press, and vendors) and I'm sure this brings a sigh of relief to all groups Freelance press, independent press, and press who cannot obtain an affadavit from their outlet will still have to undergo the background check.  

While we have gone through a number of the issues people are having with the introduction of the YPP’s introduction, let’s return to the YPP itself.

You may remember that the YPP has three goals.  Let me recount the first two:
• Increasing awareness about potential risks and recognizing each individual’s ability to help protect SPJA’s youth participants;
• Inspiring confidence and competence in identifying dangerous situations and behaviors;

Another section in the YPP is titled “Responsibilities and Expectations.”  This section states that SPJA Representatives (which is not clearly defined in the YPP - are all of the groups - SPJA staff, artists, exhibitors, etc - receiving background checks considered representatives?) are required to “be aware of their surroundings” and know the locations of all safe spaces” so that you may escort attendees to them.  It has not been revealed how many or where these safe spaces will be located.

The SPJA also has a variety of training courses available to its different groups.  There are eight courses and they apply to different groups and situations.  No group is required to take every one of the eight courses.  The course range from topics like an introduction to the SPJA Youth Protection Program, staff code of conduct and expectations, how to handle situations and escalate them to the proper authorities, and what is expected of guests of the SPJA.  This array of topics should hopefully equip staff, volunteers, and attendees with the information necessary to help provide for the security and safety of other attendees.

One part of the Youth Protection Program extends to online interactions and denounces bullying, causing emotional distress, and transmitting content of an adult nature.  This is an answer to a more modern problem.  Social media is a powerful thing and smartphones allow them to be connected 24/7.  There are even children who have never known a life without a smartphone.  The smartphone and social media with it is their life and there have been cases of cyber bullying across the globe.  While I can see where they are going with including the internet (predators can use it too) it does leave a lot for interpretation.  Does the "transmitting content of an adult nature" include content that the receiver has sought out on their own?  Let's be honest here - people know how to find things on the internet.  Some of the people who attend or exhibit at AX have content that would definitely be against the aim of the program.  Are they automatically in violation?  Will they be barred from exhibiting ever again?

At least one training module requires that you keep an eye out and report any activity that goes against the YPP.  This goes not only for staff and volunteers but includes exhibitors and artists, two groups who do not traditionally take on that role.  The YPP also suggests that you report any infractions by other booths to SPJA staff. 

In practice I do not think the program will be anywhere as effective as hoped.  It is a decent attempt by the SPJA on raising awareness on an ongoing, and potentially serious problem in the community. As a bonus, SPJA will also be protecting itself from possible legal ramifications.

In closing the overall idea of the Youth Protection Program is admirable in raising awareness of serious issues in the community; the execution and scope, flawed.  There are a lot of questions that needed answers and introducing the program on a Friday when questions and concerns would go unanswered for the weekend was a poor choice.  When some of those questions involve money or a deadline it’s even more important to have the answers available before release.  The bulk of the information available to myself and to others in the public has been a combination of second-hand gathering, searching other websites, and posts by other outlets.

With any luck we will be able to better provide you with information as soon as the SPJA releases more.  

For more information on the Youth Protection Program please visit http://www.youthprotectionportal.org/SPJA 

In order to view the courses you must register (it is free) but the policy itself is available on the resources page or at http://shiftboard.s3.amazonaws.com/sites/865793/docs/5716b05452d8b413.pdf

To see the SPJA’s release on the Youth Protection Program (sic) please go to https://www.spja.org/youth-protection-program/

J-POP DANCE/VOCAL Group DA-ICE to Make Overseas Debut at Fanime 2016

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J-POP DANCE/VOCAL Group DA-ICE to Make Overseas Debut at Fanime 2016

Japanese dance/vocal group Da-iCE will make their American performance debut at FanimeCon later this month at the San Jose Convention Center, May 27-30. The groundbreaking five-member group has scored multiple chart-topping hits in Japan, becoming a pop music sensation for their multi-octave range, modern dance style, handsome looks, and sophisticated fashions. Their concert at FanimeCon will be the first chance for American fans to see the group’s energetic stage show that has sold out concerts across Japan.

 
The five members of Da-iCE (pronounced “Dice”) — Yudai, Sota, Taiki, Toru, and Hayate — have visited the U.S. twice before for dance lessons with America’s top choreographers, and each member is looking forward to meeting American fans in the intimate Q&A and autograph sessions at FanimeCon. The San Jose concert (the group’s first live show for non-Japanese audiences) will feature a full showcase of songs and dancing, matching the power of their recent tours.
 
Da-iCE will also bring limited quantities of official merchandise from Japan (available at the Kinokuniya booth) — CDs, DVD, T-shirts, towels, mini-poster + ID card sets (first release at FanimeCon), tote bags, iPhone cases — and there will be a rare and limited-admission Da-iCE photo session for fans who purchase a special goods package at the event.
 
Saturday, May 28 – Autograph Session (11:30 am)
Saturday, May 28 – Concert Showcase (Doors 6:15 pm || Start time: 7:00 pm)
Sunday, May 29 – Q&A Panel (2:00pm)
Sunday, May 29 – Autograph Session (3:30pm)
 
Event details at FanimeCon’s website: here.
 
Da-iCE has just released their 8th single “WATCH OUT” (from their second major-label album EVERY SEASON) and third live DVD “Da-iCE Live House Tour 2015-2016 -PHASE 4 HELLO-” on April 6. The group will embark upon their first nationwide large-venue tour of Japan in July.
 
 
Check out some of their music videos below.
  
WATCH OUT
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Back to the Future
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BILLION DREAMS
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