I caught SDN48 live performing in Singapore at Scape last Friday. I was going to wait for the official concert photos to be distributed to the blogosphere before I write about it, but the PR minions are taking forever and my recollection of the event is growing faint as the curse of old age silently obliterates my memory.

So yeah, this is what I think. I’ll just add in photos later if they ever show up.

SDN48, or Saturday Night 48, is AKB48‘s more “adult” sister group. It is the most recent entry in AKB48’s growing idol empire and the only group of the four that is not regional-based. SDN48 members are generally in their 20s and older than the members of the other three groups, with some of them being former AKB48 members.

AKB48 is really the only group with any significant overseas fan-base, so it was rather surprising for SDN48 to hold a live in Singapore. After all, AKB48 itself belongs to a small niche outside of Japan, while SDN48 remains a niche even within Japan. Last Friday’s live was actually SDN48’s first ever overseas performance.

SDN48 posing in Orchard Road, Singapore’s take on Venice’s Grand Canal

The performance was actually rather enjoyable, despite my near-complete ignorance of everything AKB48 and its spin-offs. The songs are standard pop fare, but faster paced, more rhythmic and with more dance beats than most of what I’ve heard from AKB48.

Being the so-called “adult” version idol group, SDN48’s music videos and stage presentations are slightly more risqué than what J-Pop idol groups like Morning Musume usually go for (e.g. soap-bubble bath, revealing costumes and implied lesbianism) but nothing that will incite pitchforks and angry mobs. Might be kind of pseudo-provocative thirty years ago.

That said, one of SDN48’s numbers last Friday had a dance routine that included sexy corsets, stockings with garterbelts and — wait for it — three pairs of black panties being thrown into the audience. I’m guessing you wouldn’t see that at an AKB48 concert. Heh.

SDN48 members who performed last Friday

The interesting part for me was that, of the twelve SDN48 members sent to perform in Singapore, there were Chen Qu, a native of Shenyang, China, and Sayaka Kondo, who grew up in Detroit, Michigan. Between the two of them, they had both English and Mandarin Chinese — the two main languages spoken in Singapore — covered. Heck, SDN48 has a main single whose title is partially Korean (Ai, Chuseyo) and one of their other songs has Chen Qu doing verses in Chinese. Talk about market research.

It’s quite clear that the whole 48 franchise is just raring to make it big in the international (ala East Asian) market and a lot of groundwork is being done by the producers attempting to pull it off. SDN48’s dance routines and presentation styles are noticeably influenced by the current tide of Korean pop dominating the market, which in turn draws on international and Western influences more than past Japanese idol groups. Yasushi Akimoto has definitely been taking notes and learning from Japan’s past successes and recent failures.

Still, the inclusion of two Chinese members did not save Morning Musume from its free-falling descent into obscurity and niche-dom, and I think it’s still too early to tell if AKB48 and its sister groups can successfully become J-Pop’s new messiah and growth engine in the international market, a position that has been unfilled since Ayumi Hamasaki.

The Caucasian guy is a metaphor for the overseas market

I estimated about 800-1000 seats in AKB48’s permanent live venue in Singapore. At 50 SGD a pop, that’s $50,000 per gig at the maximum, which is probably barely enough to pay for return Business class tickets from Japan for 12-16 girls and their entourage of manager(s) and make-up artist(s). Yasushi Akimoto is definitely investing for the long-term here.

Frankly, now I am thinking of catching one of the upcoming AKB48 lives in Singapore, purely out of academic curiosity. This could be (pop culture) history in the making.

Oh, one more thing: I am kind of obligated to inform you that Animax Asia is holding a contest called “AKB48 Watch & Win” to give out AKB48 Singapore live tickets, merchandises and meet & greet opportunities. From now until 26 August, a name of an AKB48 member will be shown on Animax between 8pm to 12am everyday from Mondays to Fridays. You have to submit the correct name to the official site to enter the lucky draw.

Kids, this is what happens when you sell your soul.

P.S. I still think Momusu was better in its heydays. D:

A short press conference was held today for the opening of AKB48’s official merchandise store in Singapore and their first permanent theatre outside of Japan. There was also a short photography session with Misaki Iwasa, Mika Komori and Miho Miyazaki from AKB48 who were present for the opening ceremony.

AKB48 Singapore is a project consisting of a permanent theatre, a merchandise store and a theme cafe (to be opened late June).

Members of AKB48, along with their sister groups SKE48, NMB48 and SDN48, will be performing at the theatre twice a month on a regular basis. The first public performance will be held tomorrow, May 15, and the performers consist of a mix of Team A, K and B members.

Meet and greet

AKB48 actually performed in Singapore last year as part of AFA X. Presumably the reception was good enough for the business end to decide to establish a permanent presence in Singapore.

Crowd of photographers blocking the view

There was a queue of fans waiting for the official store opening today. Probably because there is a handshake session with the three girls for customers making purchases of 15 SGD or more. I didn’t have to queue because I was with the media people, but I didn’t buy anything and only took a quick look around. The store is pretty standard for an official merchandise store of its type.

Blind overhead shoot

Everything is located within the *SCAPE complex located behind Cineleisure. The entire building was playing AKB48 songs for the store opening.

The queue goes around the building

AKB48, despite its origins, has become incredibly mainstream in Japan in the past two years thanks to aggressive marketing, perhaps even exceeding the former glory of Morning Musume. When I was in Japan last month, there were AKB48 posters put up by the Tokyo metropolitan government telling people to vote in the elections.

Posing for photos

That said, the Asian pop market is quite a different game altogether and holding two concerts a month in Singapore seems like a rather intensive schedule to keep for an overseas location, just considering the logistics alone.

This looks like a huge strategic push to make AKB48 part of the mainstream consciousness in the overseas J-Pop market, which in recently years has grown stale, partly due to a lack of a new generation of flag-bearers, and has been severely under-performing compared to its Korean counterpart. It’s a gamble but it can potentially pay off huge for the entire industry if it establishes a new wave for similar J-Pop idol groups.

Also worth noting is that Singapore has a rather large Japanese expatriate community for its size.

Maybe one day there will be a Singapore franchise. SGP48.

Recently, renowned sci-fi writer William Gibson of Neuromancer fame annoyed a bunch of Miku fanboys when he tweeted, “Hatsune Miku doesn’t really rock me. I want higher rez, less anime.” This was immediately parsed by some to mean that he hates all things anime and wishes horrible things to happen to otakukind and hilarity ensued.

Coincidentally, I have been spending some time thinking about the concept of virtual idols recently and just picked up a copy of Gibson’s Idoru novel that touches on this exact issue. Incidentally, it has a pseudo anime-style cover.

While Gibson’s delivery of his message was highly ambiguous (we can all thank the ubiquity of Twitter in contemporary discourse for that), I think what he actually meant by his statement is that he believes a true virtual idol should emulate reality to a higher level of accuracy. This of course includes higher resolution graphics and the display technology to match it. I think there is some merit to that argument that goes beyond a matter of personal preference.

Idols throughout history have always been artificial constructs to varying degrees, but today idol-making has become a precise science. Outfits like Johnny’s and AKB48 assemble each idol from a list of proven ingredients and find a suitable host body to bring theory to life. They are basically idol factories, managing hundreds of manufactured personas and with hundreds more on a conveyor belt ready to replace them. These idols are actors whose talents are not singing or dancing but to give the fans exactly what they want to see. Auto-Tune fills in the rest.

The real game we are playing is the illusion of intimacy. The best idols are not the prettiest or the best singers, they are the ones who can convince the most number of people that a special connection exists between them and their fans.

This argument may sound overly cynical, but it’s only slightly. I’m not saying that all idols are being intentionally deceitful in order to be popular (only most of them), and indeed many of them probably truly believe in what they do and say in front of their fans. Some of them may even feel the special connection. But that all just means that even idols themselves are human beings who are susceptible to the alluring mirage of false intimacy.

I suppose the more astute reader would now argue, “But DM, by that line of reasoning is there really such a thing as real intimacy?” Let’s not open that can of worm, but I’ll just quickly add that at the very least, I think that real intimacy cannot possibly arise from a relationship in which communication is mostly unidirectional and systematically managed.

Now the problem I have with the idea of Hatsune Miku as an “idol” is not the art style or her glass-shattering voice, but the difficulty of maintaining this illusion with what is essentially an open-source meme. Her screen-projected concerts are not so much endearing as amusing; It’s something fresh and flashy, but after the first time it offers no obvious value over watching this YouTube video twenty times. That’s because seeing Hatsune Miku as an idol requires a suspension of disbelief far greater in magnitude than that required for a typical mass-produced humanoid idol. This is why virtual idols (and I suppose this does include anime characters in general) will remain a tiny niche for as long as display and rendering technology fail to convincingly fool our brains into giving willing fans an easier time to live in our selfish fantasies.

Of course, my obsession with the idea of emotional intimacy as part of the definition of an idol is subjective and probably too stringent for some. However, I find the distinction significant because a line, hard to define as it may be, must exist somewhere between regular fame and idolatry, or the concept of idol ceases to have relevance.

This reminds me of my current addiction: Valkyria Chronicles 2

In addition, the crowd-sourced nature of Hatsune Miku further complicates the situation. Everyone can participate in the creative process and all works produced can potentially be incorporated into the collective idea of what exactly constitutes Miku. The trademark leek she holds for example originated from a Bleach parody video. Given that idols, according to my cynical worldview, consciously calibrate their self image in a way that panders to fan expectations, letting fans have direct creative control over the entire process should arguably represent the ultimate form of idol creation, at least in theory.

I am undecided on this one, but I lean towards scepticism. If fans get exactly what we want because we helped to create it, doesn’t that just makes it more difficult for us to maintain the illusion that the virtual idol is an existence worthy of our worship? After all, how can the creator idolize his creation when he can see all through all the magic taking place behind the scene?

Personally, I see Hatsune Miku as a meme. The sense of joy we derive from watching her comes from shared experiences between fans more than it comes from her. It’s more like an open-source software community where everyone contributes something and we all feel happy with the result and less like Steve Jobs coming up with an awesome iThing and we all grovel at his feet. There are tons of shaky bits in that analogy, but I think it conveys my general feeling.

So that’s why they named her Apple…

So all in all, I do not see Hatsune Miku as a virtual idol. She’s more like the Laughing Man except less anarchistic and more merchandising. But in all likelihood, the idea of idol itself may be the one that is changed in this great social experiment. We’ll see.

Actually, I wonder why no one has yet to make a serious attempt at manufacturing a classic virtual idol. We already have the technology to render photorealistic people (at least for the purpose of making music videos or advertisements). Throw in some anonymous voice samples with Auto-Tune and some masked body doubles for concerts (perhaps even special effects make-up or plastic surgery) and you have an everlasting star who will work for as long as you need and who will never betray your corporate interests… Hmmm.

As for William Gibson, he eventually tweeted a follow-up message and said, “Hatsune Miku is clearly a more complex phenomenon than I initially assumed. Requires further study.” I wonder if he truly believes that or if he’s just saying that to get the fanboys to get off his back.

P.S. It’s interesting to note that a lot of Miku fan art is basically recoloured/traced illustrations of other anime characters. Perhaps Miku is more like the Borg: she absorbs and assimilates all our individual fantasies…