I just woke up with a throbbing headache. I feel like I’ve spent the past two days walking. Of course, this comes nowhere close to the time when I queued overnight in the winter rain for Comiket 73 and fell asleep on Big Sight’s ice-cold wet concrete floor. That was just crazy.

AFA 09 has finally come and gone. I went for both days of the event and managed to get a decent feel of the whole thing, though I did end up spending most of that time chatting with people and taking pictures of cosplayers outside the event hall. I also managed to catch the concert by May’n and Yoshiki Fukuyama, a pretty worthy climax for my AFA experience.

On the whole, I think AFA 09 improved from last year. The use of space in the event hall was much better and the level of industry participation was also noticeably higher.

Unlike last year, there weren’t any odd empty spaces in the booth layouts this time, partly because the stage area was expanded and isolated from the rest of the event hall. This made the concerts more professional and authentic, but on the flip side made the whole event seem less lively. On-stage events in the afternoon, such as the regional cosplay competition and the live-dubbing session by the K-On! cast (most of it anyway), drew considerable crowds away from the main event hall.

Ideally the huge black curtain separating the stage area from the rest of the event should only be there for the evening concerts, but I guess that’s logistically infeasible.

Bandai had a pretty prominent exhibition area celebrating the 30th anniversary of Gundam. There were some event-exclusive and early-release Gunpla models too. I spent 15 minutes watching a video on the construction of the 1:1 Gundam that was recently assembled in Odaiba. It’s pretty amazing to watch these engineers and technicians put something like that together from scratch. Watching them fine-tune the speed of the Gundam’s head rotation and adjust the positions of the jet exhausts makes me feel kind of funny inside. I think the next closest thing I can think of is watching Disney Imagineers at work.

You know, the feeling that after these people have grown up, gone through college and become professional engineers in various fields, they can take the serious stuff they have learnt and use it to create something born from childhood wonder. It’s magical.

Danny Choo had a booth collaboration with Good Smile Company where all the usual (figurine) suspects could be found. He was also helping to promote Otacool, a book published by Kotobukiya that compiles photos of “otaku rooms” from all over the world. It’s like a printed copy of the internet! I think it’s about time someone did something like this for epic 4chan posts that are of historical significance to serve as primary sources for future O-level source-based questions. (“What is Anonymous and what do they not do?”)

I have this one. Yay!

Interestingly, COSPA has decided to set up a South-East Asian branch, COSPA SEA. Damn it man. It’s already hard enough as it is to wear a COSPA shirt to a local event without bumping into someone else wearing the exact same shirt. Back in the old days we had to physically fly to Japan to get our COSPA shirts and they were like rare Epic loot. Young anime fans these days have it too good. *Swings walking cane around wildly*

I hereby proclaim Shirt.Woot the next indie mass-market apparel trend for geeks. Considering they still do not ship to Singapore and will unlikely do so in the near future, our bought sense of individuality should be safe for some time.

Tatsunoko Production

Local comic Freedom Formula — soon to be a major Hollywood production

Hottarake no Shima — Production I.G.’s new family-friendly box office release

During Production I.G.‘s presentation on Friday, the speaker mentioned that the studio was founded by people who, having seen how girls are drawn to men who do sports, poetry, etc., decided that they want to make anime that can help them score with chicks. (I imagine telling a girl that you were responsible for a scene in Kill Bill can be quite a turn on.)

And having successfully achieved their primary goal, many of them are now happily married and starting families. Hottarake no Shima (Oblivion Island) is the result of that transformation. Heh.

Summer Wars — coming to a Cathay cinema soon

Storm Lion booth babes

Animax Asia live broadcasting

Doujin merchandises

Doujin posters

Moe Moe Kyun maid cafe

Danny drew quite a crowd when he went into the maid cafe in his Storm Trooper armour. All the maids were fighting to serve him. ;)

Reine Hibiki (illustrator for Marimite light novels) autograph session

And finally, the cosplay photos. I know I say this after every cosplay event, but AFA 09 has finally made me decide to buy an external flash for my Canon 400D. Eventually. Yeah.

A familiar face

GO GO POWER RANGERS

Hetalia will be the cause of WWIII

She’s Japanese

That reminds me. Speaking of K-On!, there was a live on-stage dubbing demonstration by the seiyuu cast on Sunday. Four of the girls were present. Guess who was missing? It was Yoko Hikasa, the voice of Mio. The audience was noticeably shocked and confused when this was finally revealed.

The session still went great and watching the voice actresses do their job was pretty interesting. The fans, once they got over the initial shell shock, responded quite positively. As a bonus, I found it amusing to observe the reactions that took place immediately following the unexpected revelation. In fact, I was kind of waiting for it to happen. I am a bad person. :(

Okay, so we all know that I’m probably never going to buy an external flash and when the next cosplay event comes around, I’ll be back here posting under-exposed and out-of-focus photos again. Damn my lack of willpower.

I missed the concert on Saturday but managed to catch the one on Sunday. Although better than last year, the acoustics still left much to be desired this time. Most of the vocals were hard to make out over the loud synthesized pop tracks and the booming bass speakers that were pointed right at me.

May’n performed a few of her latest non-anime songs before ending off with Northern Cross, Lion and Iteza Gogo Kuji Don’t be late. The crowd, being who we are, reacted much more favourably to her Macross F songs. Yoshiki Fukuyama’s performance was more audible, partly because he has a louder voice and partly because he played his own chords on a guitar.

The best part of the concert was of course the two duets May’n and Fukuyama performed for the encore. Fukuyama did an impressive rendition of Diamond Crevasse on his guitar and sang along with May’n during the chorus, and May’n did a surprisingly good job with Dynamite Explosion from Macross Dynamite 7. Personally, I was looking forward to a Totsugeki Love Heart duet, but I guess I shouldn’t be greedy. Music — the one good thing about Macross 7.

That about concludes my AFA 09 coverage. Now I shall pray to the great Cherokee gods for Maaya Sakamoto to come to AFA 10.

Having been to similar conferences in the IT industry, I didn’t have high hopes for this one. Often, it’s a bunch of really boring people in suits talking about how Asia is an emerging market and Singapore is poised to be a regional hub. AAC on the other hand turned out to be a rather pleasant surprise.

I stepped into the Suntec Convention Centre auditorium on Friday morning with great reservations. I was nearly half an hour late and the keynote address by Mr. Tsuguhiko Kadokawa, CEO of Kadokawa Group, was already coming to an end. I entered quietly through the back door, just as I did the numerous time I was late for lecture in school, and resigned myself to inevitable death by boredom which, no disrespect to Mr. Kadokawa, was only made more certain by the last few slides of his presentation.

The first speaker was Mamoru Hosoda, the director of Tokikake and Summer Wars. A prior glance through the list of speakers had given me the impression that he was going to be one of the few interesting speakers for the day. This rare spot of optimism was quickly overturned when it became apparent that instead of a personal presentation, the format was going to be a mock interview conducted by ANN’s Justin Sevakis.

I was puzzled by this arrangement because all it did was to add an additional layer of interpretations to the whole process as Justin was asking the questions in English… The interpretor was pretty bad and half the time Hosoda was answering different questions from the one asked. It wasn’t the engaging presentation I had hoped for.

Justin Sevakis and Mamoru Hosoda on stage

Hosoda mentioned that Toki wo Kakeru Shoujo was made for Japanese high school students and he didn’t expect it to do so well overseas. His main sources of inspiration are Hayao Miyazaki and Disney and he sees Pokémon to be the first to show that anime do not need to be adapted for local tastes in order to succeed globally. I’m not so sure about that one…

Edmund Shern, CEO of local media company Storm Lion and the founder of the ever popular Imaginary Friends Studios, went on stage with a few guys from Production I.G. to talk about their latest collaboration, Titan Rain.

Titan Rain

Given that Storm Lion was only incorporated last November, it’s pretty amazing that their comic series Freedom Formula has already been picked up by New Regency to be made into a live-action title distributed by 20th Century Fox. And considering the large number of collaboration requests from Hollywood studios that get rejected by Production I.G., Edmund must really know his stuff. Mitsuhisa Ishikawa, president of Production I.G., mentioned that he decided to do this with Storm Lion because it presented a creative vision as opposed to a profitable business proposal. Hollywood, take notes.

Edmund Shern and the Production I.G. guys

Of course, while it’s great that a Singapore media company has managed to find a place alongside the big industry players, I suspect this has more to do with Edmund’s personal experience than the local scene as a whole. Time will tell.

Mr. Phoon Chiong Kit, deputy chairman of Imagi International Holdings Limited, gave a talk about why he believed Astro Boy has failed rather badly in the box office. The title of his talk is “Distributing Animation Across Markets and Cultures” and frankly I thought it was going to be a real dozer, but I was proven wrong. It was actually pretty interesting.

Apparently Astro Boy did pretty good in China, flopped in the US and was dead on arrival in Japan. Over 80% of the viewers in the first week of its release in Japan were older men instead of the targeted teenage audience, which on hindsight is not that surprising. He speculated that the movie didn’t do well in US because it is an unknown franchise and looks kiddish to older audience but is perceived to be too violent and full of adult themes to actually draw in kids. It did better in China because Astro Boy is a recognized classic there and the audience does not have the same expectations that the Japanese audience has when it comes to staying true to source materials.

Astro Boy adapted for Hollywood sensibilities

I think the fact that Imagi is a Hong Kong company may have something to do with it too. Given that Chinese authorities have an annual quota of twenty on the number of imported foreign films, there’s a artificial lack of competition when it comes to box office sales. I wonder if Astro Boy was considered a local film and given certain preferential treatment.

Shiro Sasaki, CEO of Flying Dog (a division of Victor Entertainment), gave what I feel was the best presentation of the conference. Flying Dog manages many of the big names in anime music production, such as Yoko Kanno, Yuki Kajiura, Akino Arai, ALI PROJECT, Round Table and my all-time favourite Maaya Sakamoto. Looking at the number of titles for which Sasaki is credited as music producer (Ghost in the Shell, Akira, Cowboy Bebop, Noir to name a few), it is no exaggeration to say that he basically shaped our entire perception of what anime music is all about.

He did a presentation on Macross Frontier where music plays a particularly important role. For each Macross title, Flying Dog looks for fresh voice talents so that the audience associates the songs with the characters instead of any established singer. The talents are then developed in parallel to their fictional counterparts using various real-life promotional events that mirror those found in the anime until eventually they become established enough to release their own work. This is standard industry practice now, but Sasaki and Victor have been doing it since the original Macross.

Sheryl Nome’s blog

I think the commercial success of Sheryl and Ranka in Macross Frontier points to the inevitable future of all-digital idols. When a future iteration of Hatsune Miku eventually successfully navigates its way through the uncanny valley to emerge on the side of ultra-realism, real idols will be out of work for good. Considering how precious little is real when it comes to idol marketing, it’s really the next logical step.

Danny Choo did a presentation on his Mirai Gaia ecommerce platform which is interesting as usual, but I think I had already heard most of it before.

Kotaro Sugiyama, creative czar of Dentsu Inc., presented on Dentsu Japan’s past and recent unconventional advertising campaigns, including their recent idea to build a giant Gundam in Odaiba to commemorate 30 years of Gundam and the viral Big Shadow campaign for Blue Dragon on Xbox 360. Their folllow-up plan is to build another Gundam in Paris(?!). Although most anime fans would not have heard of the advertising company Dentsu, they are actually a huge player in the industry. AFA itself was created by Dentsu’s Singapore branch.

Vince Shortino, president of Crunchyroll Kabushiki Kaisha (their operations in Japan), talked about how Crunchyroll managed to convince Japanese right-holders and turn itself from an illegal den of pirates to a fully-licensed online business model.

The Crunchyroll presentation was very thought-provoking, mainly because it mirrored my views from two years ago at the time when the Odex crackdown appeared to be a foreshadowing of a wider industry backlash against fansubbing. Unfortunately, Odex, despite its wealth of industry connections, was and continues to be stuck in the comforts of the status quo and did not have the right combination of ideas, resources and luck to take advantage of what it saw as the doom of creative media. Crunchyroll, a California-based startup with all the right experience (or lack thereof) and can-do optimism that has been the heart of the Silicon Valley’s numerous successes, managed to do just that in spite of having to start from a difficult negotiating position, given that they were perceived to be a huge source of piracy back in 2007.

I pitched this exact idea (online streaming of the latest shows paid for by a combination of subscription and advertising) to Peter Goh, the CEO of Odex, back then and was given a long lecture on how it was impossible to obtain such concessions from the Japanese studios and how I was young and naive (or something to that effect). This seems to be a problem with the mindset of a lot of local businesses — we as Singaporeans are just too used to toeing the line. It was “impossible” to get Japanese support for an online streaming service, but only because no one seriously tried it until Crunchyroll. I hope Odex learnt a lesson from this, but I doubt it.

Crunchy roll iz in ur industry, destoyin’ ur bizness model

Interestingly, there was a short discussion after Vince’s presentation and one of the invited participants was Mr. Steve Tan, a digital IP lawyer from Rajah & Tann LLP. The very same law firm that represented Odex in its aborted crusade against illegal downloaders. It doesn’t take a genius to imagine what his main points were. He started going on about how right holders can only successfully defend their properties if they band together and launch a legal “blitzkrieg” against illegal downloaders, a transparent reference to Odex’s failure due to it being perceived as acting on its own accord. Vince tactfully shot him down by pointing out that it is the advancement in technology that has made past distribution models obsolete and not any intentional evil on the part of the consumers. Forcing fans to return to less convenient means of obtaining anime through legal threats will only drive them away from anime and the only way to discourage illegal downloads is to make legal ones available. It’s a self-serving argument to be sure, but it’s a valid one.

However, I do find it somewhat ironic that Crunchyroll offers anti-piracy tools to the content owners that indexes other video-sharing sites looking for infringing materials. It makes sense from a business perspective because it gives added value to its corporate customers, but the elephant in the room is that such tools would’ve been used against Crunchyroll itself had they been made available to the studios in 2007.

Enforcement essentially prevents any new competitors from following its footsteps, giving Crunchyroll virtual monopoly over the streaming model, and I think there is some conflict of interest for Crunchyroll to take an active role in targeting infringements on competing sites. It’s not necessarily a bad thing and in the long run, should this new model prove viable, established distributors with sufficient capital can still enter the market (like how Microsoft successfully forced its way into console gaming). It’s just too late for the rest of the garage startups.

AFA preview event during the lunch break. Photo provided by Alafista

AAC was on the whole a very meaningful experience with quite a few pleasant surprises. Well, I’m off to AFA now. Hope it will continue this positive trend and outshine my humble expectations. ;)

So all the cards are finally on the proverbial table. In addition to whatever was announced during the first press conference, the final details for Anime Festival Asia 09 was released this Wednesday (or last Wednesday depending on your preferred usage) during a blogging conference (hurray new media?). Being really short on free time these days, it naturally took me three whole days to write this post. You know you are getting old when you no longer care about first post.

Refer to my previous post for the prior announcements. The new details are as summarized below:

• “Live” performance by Hatsune Miku. You can see how it will look like here.
• Live dubbing by K-ON! seiyuus
• Showcases by Tatsunoko Productions and MADHOUSE Studio
• COSPA retail presence
• Weiβ Schwarz Grand Prix (it’s a moe anime TCG game)

In addition, the anime song performances will be split between the two days of the event, with Ichirou Mizuki, Shoko Nakagawa and Hatsune Miku on day one and Yoshiki Fukuyama and Mayâ€n on day two. The concert tickets are priced at S$188 for two days and S$108 for one day. You can also purchase regular entry tickets to the event for S$15 for one day or S$25 for two.

I think the most interesting thing to me is probably the joint performance by Yoshiki Fukuyama (who performed as Basara, the lead singer of FIRE BOMBER, in Macross 7) and May’n (who performed Sheryl Nome’s songs in Macross Frontier).

Think about it: quite a few of FIRE BOMBER’s songs are duets. The AFA organizers aren’t wiling to confirm anything, but it’s not inconceivable for May’n to assume the role of Mylene and perform a few classic Macross 7 pieces with the great Basara himself. That’d be awesome. If it happens anyway. Planet Dance!

Still, the ticket prices have gone up this year. Since I have effectively zero income right now and still have an expensive college education to save up for, choices will have to be made with the utmost prudence. Hmmm…

I just got home from the press conference for the second Anime Festival Asia and got a feel of what this year’s AFA09 will feel like.What feels like not too many daybreaks ago, a young innocent boy travelled through time all the way from 1989 to witness history unfold one fateful September day yesteryear with the birth of Singapore’s first anime convention. Now we are all grown up. *Sniff* It’s all so beautiful — a quintessential coming-of-age story.

But I digress.

This year’s Anime Festival Asia (AFA) will take place on 21st to 22nd November at the Suntec City convention hall (in Singapore) as per last year. In additon, there will be a one-day corporate event called Animation Asia Conference (AAC) on the 20th for industry sharing and shoulder-rubbing. So there’s something for not just the kids and the young-at-heart, but also suits looking to expandify and integratize their regional new-media social networking portfolios. Making up words is fun.

Reiko, the bilingual MC, speaks better English than me

The suits

Here’s a bullet-point breakdown of AFA09 announcements so far:

• Confirmed performers:
  • May’n
  • Shoko Nakagawa – all-round otaku idol/blogger
  • Ichirou Mizuki
  • Yoshiki Fukuyama – JAM PROJECT! FIRE BOMBER!
• Regional cosplay competition – auditions to be held in various countries.
• Danny Choo – showcasing Mirai-chan merchandises, giving talks, and moving to some Stormtrooper groove.
• Bandai stuff – Gundam 30th anniversary, Power Rangers, Harumika, Cook Joy, BAKUC.
• Moe Moe Kyun maid cafe – a cafe. With maids.

It definitely looks like the event is growing (literally in some sense), particularly the industry networking side which has expanded from a corner of the event hall to its own day. And of course with almost three months left to the actual convention, there will no doubt be more announcements coming in the official AFA09 website.

The maids

A random Minuki (Trucy Wright) cosplayer

Personally, I’m a lot more excited about Yoshiki Fukuyama than Shoko-tan. Although as with May’s performance last year, I doubt that the event organizers will be able to secure screening rights for Macross 7 footages, given the legal shit-storm that is the franchise’s international distribution rights — a sobering warning to all aspiring creative talents on the danger of selling out too early. What a pity. The songs were the only thing that made 7 fit for viewing and they worked great too.

Bandai’s Cook Joy — It’s like Cooking Mama in tangible 3D

It appears inevitable that this blog will eventually become nothing more than a collection of distilled madness and PR mouthpiecing. Although the Gundam Unicorn series airing next spring may provide some rejuvenating blog fodder… But I digress again.

So anyway, I’m sure I’ll be seeing many of you at uncomfortably-close range come November at AFA09. (Please wash your hands and have a breath mint.) In the meantime, maybe it’s about time I get an external flash for my timeworn Canon 400D.