AD Classics: Anime Boston 2011 Spotlight

Title: Media Spotlight: Anime Boston 2011

Author: M. Ferreira

This was the last large-scale convention piece I ran for Anime Dream, back in the day. We did 2012, but at that point, I was pretty firmly settled into the daily dealings of Anime Herald. 

At this point, it was becoming clear that the Dream was at the beginning of the end... this piece was the first big Spotlight article to hit in a full year, and even then, it took time to get things edited, vetted, and published... to the point that it spilled into two months.

So, yeah... I like to see this as that last, beautiful"swan's song", before we started to scatter in our separate directions. I know, by that summer, Matt and I were having frank discussions on how we should say goodbye to our readers. (God, I still remember making those calls to AD's partners and choking up on the phone x_x MATT, YOU MADE ME CRY, DAMMIT!)

But anyway... that said... the introduction seems particularly poignant at this point, what with the ticking clock motif. I guess it weighed on me a lot more than I thought? ^_^; -MF

OH! If anyone's asking why I don't do much video for cons anymore: Editing video is a LOT of work... like... more than I have in an average week, if I want to keep the Herald running.

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Anime Boston 2011: A Prelude, And A Hope

With each passing year, preparing for a con grows easier. Hindsight, lists, and experience have all become valuable tools as I get everything ready to go. However, regardless of how many lists, plans, and good intentions are made, I find it impossible to escape the last-minute rush. Even now, the thoughts race through my frantic mind as the clock relentlessly ticks.

Tick, tock...

The seeds of doubt begin to sprout. "Shit, do I really have everything?" is the first and foremost thought, as the list is pored over and re-checked several times over. The bag is unpacked, re-packed, and the list is checked off again.

Tick, tock...

The panic sets in, as forgotten items begin to arise. "Oh crap - I forgot to buy batteries, tapes, and an audio patch cable!" A hurried trip to Target takes priority, as the last items are catalogued, and final stocking begins.

Tick, tock...

Finally, at around 8:30, it's done. The bags are packed, the prizes are sorted, the batteries are charged, and the electronics are packed. Things begin to look better. Calm begins to set in, as it finally looks like this could be pulled off with some form of success. Final print-outs are made, and want for a decent night's sleep begin to take hold.

Tick, tock...

As midnight approaches, sleep finds itself hiding. Instead, planning, worrying, and mental preparations begin to form. Event schedules and building layouts, strategies and commitments take the forefront. "What if"s, and "How can I"s are common, and second guesses are the norm. Come tomorrow, I'll be on my way to the event, and all these concerns will have melted away. Instead, my focus will have shifted to delivering the greatest convention coverage I possibly can.

The convention atmosphere is something I've come to crave in recent years. There's something incredible, even magical about these gatherings that simply brings out the best in people. Anime Boston, though, it's different for me. Since 2003, I've come to refer to the convention as a "home away from home", a place where I can turn for fond memories and incredible experiences.

This weekend, I hope that you, dear reader, will join me as I try to deliver an unmatched experience, convention coverage that is of both quality and quantity.

Anime Boston 2011: Day One, At a Glance

For those that missed the convention or just want a brief recap of the event, I took the liberty of producing a brief travelogue for each day. Please enjoy the presentation, as I give a brief run-through the major events of the first day of Anime Boston 2011.

https://www.youtube.com/watch?v=6UoLfmMPcpg 

Anime Boston 2011: Opening Ceremonies

https://www.youtube.com/watch?v=ttA_D0EfAsM 

The convention began on a strong note, as a brief stage show featuring convention mascots A-chan ang B-kun kicked things off. Afterwards, Andrea Finnin and Victor Leem the convention chair and vice chair, took the stage, and performed the traditional welcoming to the event. The two highlighted the more somber events of the past year, including the passing of Satoshi Kon, Osamu Dezaki, Carl Macek, and Peter Fernandez, as well as the recent disaster that rocked Japan. The pair noted that they would be accepting cash and blood donations to aid Japan, and proceeded to introduce the event's guests.

As with previous years, they welcomed each guest to the stage, all of whom had warm words for the guests and the convention itself. As always, Tom Wayland delivered his own pre-recorded message to attendees, which included a degree of warm-hearted ribbing toward the Boston Red Sox. As he took the stage, he was met with the now-requisite boos and jeers, as he delivered his words to the audience. Wayland was followed by Stereopony, Girugamesh, and Mari Iijima, the former of whom delivered a pre-written statement (read from a sheet of notebook paper, no less).

After the guest introductions, another video was delivered, this time featuring the convention mascots again. The annual cosplot was finally revealed, as A-chan and B-kun, nay, "Tom Wayland and the Waylands" challenged Tom Wayland to a Rock Band competition. Wayland gladly accepted, after a bit of comedy courtesy of his son, and made his way offstage.

To close the ceremony, the con chair offered a stern warning to have fun, but to be good, damn it.

Anime Boston 2011: Mania/Anime on DVD Panel

Note before we begin: Wow! This takes me back. This was in the days when AoDVD was still running strong... before Chris started Fandom Post. We really were in a different age back then, weren't we? :) Hard to believe it's been seven whole years now!

Every year, Mania's Chris Beveridge hosts a panel at the convention that is unlike most others. Beveridge does not keep a set format. There is no specific topic, and no particular focus. Instead, it's a straight-up question-and-answer panel, in which everything is fair game. Those who ask a question are free to pick a prize from the massive pile of DVDs that he brings to the event. Bad questions are given a booby prize, in the form of horrible hentai titles or, in the case of the worst question, a copy of Night Shift Nurses. Night Shift Nurses had not found a home in the first three years Beveridge offered it, though this year it finally found a new owner. God rest that poor bastard's soul. This year, I donated Disgaea: The Complete Collection from Anime Dream's own reviewable titles locker.

As with every year, the topics of conversation were varied and ranged from Beveridge's favorite titles, to frank industry discussions. Particularly interesting tidbits from the 90-minute panel included the following:

• A "high performing" title in this day and age tends to sell 2,000 units.
• While dubs have come down in price, the lower general sales ensure that many companies do not dub their titles. FUNimation is the major exception due to the fact that they do a lot of work in-house, and they have an on-demand television network.
• The industry, both in Japan and America has been searching and hunting for another show like Pokemon, to help spur new fans again.
• Poor management was a major contributor to TOKYOPOP's closing
• Japan's involvement in the Region 1 market is a consequence of risk management and cost analysis. Japanese distributors can make more money by selling directly, than they can by licensing certain titles.
• Kodansha's take-over of Del Rey's titles will have little impact on the industry at large, as they are maintaining many members of Del Rey's former staff, and continuing with their formatting. Because of their involvement in the market over the years, it is not foreseen that they will "take their ball and go home" like Toei or Bandai Visual.
• Beveridge still considers Spirited Away the worst anime title in memory, as it put him straight to sleep.

The conversation was littered with fun facts and a surprisingly fun sense of humor from Beveridge and the audience. At times, it felt that 90 minutes seemed almost too short for this candid conversation, as there were many topics that seemed to be begging for further discussion.

Anime Boston 2011: Dubs that Time Forgot

 ANN's Mike Toole opened the panel with a brief tribute to the late Osamu Dezaki. For this, he broke his long-standing policy of never showing a title more than once in the panel, and presented segments from a dubbed adaptation of Space Adventure COBRA, Dezaki's first work. Unlike his original presentation of the feature, which was a Streamline dub for America, Toole opted to show a rare, UK-exclusive dub of the film.

After his brief tribute to the late director, Toole declared that this incarnation of the panel would continue with a tribute to mermaids. In particular, he opted to show scenes from Rumiko Takahashi's Mermaid Forest, Mermaid's Scar, and The Little Mermaid. Both Mermaid's Forest and Mermaid's Scar were dubbed by Viz, though The Little Mermaid's dub producer wasn't specified.

The panel was rounded out with presentations of two Urban Vision dubs: Wild 7, a police OVA that revolves around a crew of rough-around-the-edges motorcycle cops who are above the law, and DNA Sights: A Leiji Matsumoto film that packed in every Matsumoto trope one can think of, including Captain Harlock, and still managed to suck. The panel closed off with a segment from Hakushin Daimao's 1994 UK dub, which ran on television under the title Bob in a Bottle.

The dubs, as one would expect, were comically terrible, with bad acting, badly paraphrased scripts, or worse. The absurdity of each was pushed even further, as Toole offered his own commentary for each of the dubs. As one would expect, he didn't hold back on the signature snark, or the tongue-in-cheek jokes as each clip rolled. Toole's encyclopedic knowledge of each dub, including the rarity, availaility, and release of each dub was particularly impressive, and offered something to those who may have been rolling their eyes at some of the titles.

https://www.youtube.com/watch?v=dA8ts5pFnn0 

Anime Boston 2011: Anime Unscripted

https://www.youtube.com/watch?v=AGf44jguANc 

Anime Unscripted is one of the mainstays of Anime Boston. The event, which is headed by AnimeCons.com's Patrick Delahanty and Chibi Project regular Jekka Cormier, is the con's own version of Whose Line Is It Anyway?, with Patrick and Jekka playing the hosts, and four guests taking the roles of the improv stars. This year, Brina Palencia, Chris Ayres, J Michael Tatum, and Sean Schemmel took the center stage and ran through the event's main segments. The four displayed an impressive improv chops, as they tackled the subjects thrown at them. The event was filled with crass humor and stupid jokes, but it was undeniably fun. While it was difficult to determine an outright "best" segment, the strongest were unedeniably the Dating Game, The Balcony, and Newscasters.

The Dating Game, which is a parody of the game show of the same name, kicked off the show and quickly spiraled to levels of insanity. Palencia served as the "lucky bachelorette" as she questioned each of the eligible bachelors. This year, the roles of the potential suitors were filled as follows:

• Sean Schemmel: Charlie Sheen
• J. Michael Tatum: Stuck in his One Piece Role (Lord Eneru)
• Chris Ayres: Homeless Man Looking For a Job

Sean Schemmel played his given role of an over-the-top Charlie Sheen figure to a T, as he busted out insults and wisecracks at a mile a minute. Both Ayres's presentation as a homeless person looking for work, and J. Michael Tatum's schtick as a man stuck in his One Piece role served were both amusing, but seemed to be more present as roles for Schemmel to play off of through the sketch. Tatum's role as Lord Eneru was particularly fun to watch, and seemed to relish belting out one-liners like "I would fill [my enemy] with lightning!" Ayres seemed to have fun with his role, though his performance didn't stand out as much as the other two members.

Newscasters, which placed Schemmel in the role of the straight-man anchorperson. The other three members were placed into the following roles:

• Brina Palencia: Co-anchor; Puritan that believes a cast member is a witch
• J. Michael Tatum: Sports; Auditioning for Dancing with the Stars
• Chris Ayres: Weather; Fighting off a zombie invasion

Palencia stole the event, as she continued to belt out superstitious rants and accusations. Her blaming of violence in the Middle East on "magical witch powers" and telling viewers to adopt puppies or they'd be sacrificed were brilliantly timed, and prompted a surprisingly pointed portrayal from Schemmel. The two worked wonderfully together, as jabs were fired between them, and Schemmel portrayed an excellent straight man going into a nervous breakdown. Ayres provided fun backup, as his panicked portrayal grew increasingly dark, and included lines like "it's gonna be raining blood!", and the ever-relevant "this is my BOOMSTICK!" In comparison, Tatum's more low-key act seemed to be a bit of a disappointment, as he drifted and danced (literally) through his schtick.

The final major highlight, The Balcony, placed Palencia and Ayres in the roles of two movie critics, who tell the style and plot of a nonexistent popular flick. Tatum and Schemmel were tasked with the duty of bringing this false film to life, as the panel progressed. What began as a musical murder mystery, moved to being a tragic masculine romance, littered with duets. Of course, this wasn't all: the "film" was apparently a remake of a Swedish original, which was also acted out by Tatum and Schemmel.

https://www.youtube.com/watch?v=h6plNAMJtYg 

Not every sketch was a hit. In particular, the "Professor Know It All" segment, in which Palencia, Ayres, and Tatum played the role of a "three-headed professor", fell flat on many of the jokes, and a number of comedic moments just felt wasted. The questions had tons of potential for humorous outcomes, but it just seems like the three didn't capitalize on them. The superheroes event had a similar problem, in the sense that a lot of comedic potential was squandered with fairly lame jokes that felt forced.

Aside from a few "non-starters" in the lineup, this year's Anime Unscripted was another roaring success. Hopefully, the event can be refined further for next year's event, and the events that didn't work this year can be reworked, or trimmed for a more consistent experience.

Anime Boston 2011: The Chibi Project Live!

Editor's Note: RIP, The Chibi Project... this used to be one of my guilty pleasures of every Anime Boston - there was just something satisfying about watching Patrick and Jekka utterly ruin these prized merch items - especially given their almost gleeful appetite for destruction during the show. But, yeah... it kind of ran its course in the end - after all, how many times can you toss a toy into a BlendTec (RIP BlendTec) blender or chop a plushie in half with a circular saw?

The Chibi Project is a favorite event of mine. Patrick Delahanty and Jekka Cormier devote the panel to their one true mission: to destroy toys and get creative doing it. The panel opened with a brief selection of clips from previous "experiments", from the original Chibi Moon doll destruction, to the setting ablaze of a Burning Gundam Model, and the fate of a Kuroneko-sama plush at the hands of a riding mower. The panel moved quickly to a "sneak preview" of a forthcoming episode, in which Sailor Moon dolls are fired out of a potato cannon, into a horse shed. , showing prior "experiments", as well as a series of random outtakes.

Jekka and Patrick were both eager to get to the destruction, though, and eagerly presented their torture subject for the night: a Starting Lineup figure for Yankees shortstop Derek Jeter. The treatment would be fitting: destroyed after being pitched and hit by a baseball bat. However, to simply hit a figure with a bat seems tame for a group that's lit figures ablaze with fireworks, tested firearms on dolls, and placed toys onto railroad tracks.

Instead, the group pulled out a prop that only seemed fitting for the event: The Autograph Bat. The Autograph Bat is a Louisville Slugger that was signed by every guest that attended Anime Boston 2003, including the entire dub cast of Mobile Suit Gundam Wing. The item will be sold at next year's Charity Auction, as part of the event's tenth-year celebration. The destruction was inevitable, and Jeter's body was broken to bits. Amidst the destruction, Jekka found a penny, leading to her unusual, yet humorous conclusion that, no matter what form, Derek Jeter poops money when he's hit.

The floor was opened to questions and answers for the remainder of the panel. A notable highlight was one attendee providing a hugging pillow for the two panelists to obliterate in any manner that they wished.

Anime Boston 2011: What Is Superflat?

Editor's Note: This was a panel run by someone I'm proud to call a friend. Sam Kusek (who both came up with, and co-hosted the From East to West: Superheroes of Japan and America" panel with Ken and I! Yep - that was his baby at first. ^_^; ) noted that he was going to be trying the panel out in 2011... Naturally, I had to check it out.

https://www.youtube.com/watch?v=BiqKHEuqLW4 

In "What is Superflat?", Damage -> MP's Eric Shorey and Sam Kusek delivered a deeper look at postmodernism in anime. The two began with a brief discussion on postmodernism, as told by philosopher and theorist Jean Baudrillard. According to Baudrillard, due to the advent of late capitalist culture, we no longer have access to reality, which is a reference to Plato's three versions of existence. According to Plato, the three versions are the real, apparent, and copy. The real would be the perfect concept or idea of something (like a god), the apparent or a tangible object, and a copy, like a piece of artwork.

The concept of superflat exists in the idea that, in a character like Hello Kitty, a character is a copy of a copy that doesn't reference anything. Therefore, she is nothing other than an abstract idea, but rather a one-dimensional or existence. Japanese artist Takashi Murakami originally coined the term, in reference to a specific set of artist and themes that include hyper-sexualization, infantilization, and general abandonment of linear perspective. There is no depth of field, nor clear distinction between fantasy and reality.

The duo bubbled through the topic, offering an intriguing introduction to the topic. The duo displayed an impressive knowledge of the subject, as they took a very abstract concept, and tied it to anime fandom, from Kon's Paranoia Agent, to FLCL, to the Persona series of video games. The comparisons were made clearly, and served up complex theories with plenty of visual aids, as well as a playful sense of humor that made the experience as enjoyable as it was informative. As the panel progressed, they began introducing more advanced topics into the lecture, with glimpses at intertextuality, with the same blend of humor and simple, down-to-earth explanations.

From a joke-laden deconstruction of Street Fighter, to a look at the American Power Rangers, the two built brilliantly on the concept of superflat. At points, the narrative broke from the confines of anime and Japan, as Eric began to discuss Kanye West's megalomania, Lady Gaga's eccentricity, and Murakami's litigious nature, and how they played into the idea of superflat. Every topic became fair game.

Personally, I hope that the two bring the panel back in the next Anime Boston, if only to flesh the concept out further and expose more fans to the idea of postmodern thinking.

Anime Boston 2011: Cosplay

https://www.flickr.com/photos/62320380@N05/sets/72157626493167599/ 

Anime Boston 2011: The State of the Anime Industry

https://www.youtube.com/watch?v=LWwmUBBAc_k 

Editor's Note: Hard to imagine that this was just seven years ago! At that point, the world was just, well... *different*! The industry was still slowly recovering from the bubble burst, and attitudes were generally subdued across the board. The panelists openly admitted that they were looking for a new mainstream hit, and a new mass platform. Attack on Titan was still two years away, and Toonami's infamous "April Fool's Day Revival" was a full year away.

The Tohoku earthquake and meltdown had caused seismic shifts in the business climate,  and there were huge concerns about things like where to get Blu-Ray tapes, how to handle the format, and how to even market stuff from more "artsy" anime blocks like NoitaminA. 

At the same time, we started seeing some first forays into streaming, and, though the outlook was somewhat positive for the long term, the concerns were very real.

...Big difference from today, where Netflix, Amazon, and Sony are battling over shows.

At the risk of sounding catty, this panel may as well have been called the "State of the FUNimation" panel. Despite the fact that Dave Williams of Sentai Filmworks and Adam Sheehan, Charlene Ingram, and Justin Rojas of FUNimation were in attendance, only the FUNimation crew attended the panel. Anime News Network's Gia Manry served as a moderator while Ingram fielded audience questions, and Adam and Justin answered to the best of their abilities, though answers were definitely from FUNimation's point of view, due to the circumstances.

The discussion began with a question about how FUNimation felt about streaming services, like Netflix and Hulu. Both Sheehan and Rojas agreed that they like such services, as they offer viewers a chance to sample a series that they are on the fence about, or explore new titles, which leads to increased results at the cash register. The exposure generated is similar to that created by a television run, which creates a win-win situation, as it helps the industry as a whole. Sheehan added that Hulu particularly likes FUNimation's titles, and actively tries to promote titles on the front page.

The next question focused on what FUNimation's plans to grant access to mobile platforms, to which Sheehan replied that apps are being worked on, and that they are coming in the future. The company is trying to take a smart, measured approach to such a service, but it will occur. The conversation shifted to the idea of a question about how the two felt about Japanese companies, like NIS and Aniplex, opening their own distribution titles. Rojas answered this question, stating that they aren't against the act, as they want the industry to grow. They don't want to be the only players, and accept that they will miss out on titles they would like to do, but it is still a favorable sign on the whole. Sheehan agreed, saying that the influx of these companies is incredibly encouraging. The Japanese companies favor a different philosophy than FUNimation, and it is good to see them finding success.

The next question was from Gia, and was focused on the history of FUNimation's website. Sheehan took the charge on answering, and revealed that prior to its current form, FUNimation hosted a social media platform known as FUNimation Fans. The site was launched in the late 1990s, and allowed users to have a profile, and subscribe as "fans" of FUNimation titles like Dragon Ball Z and Kiddy Grade. The profiles were then linked to a general forum. After FUNimation Fans, the company launched the current FUNimation website, as well as a digital distribution company known as Anime Online. Anime Online was an experiment by Navarre in digital distribution. From these startups, FUNimation learned to run an experience effectively. Sheehan noted that the social site was stopped within a year of its inception, just before the social media craze hit. The company will launch its new site, the current beta, as the new incarnation of FUNimation on the internet.

Another audience question was asked next, and was an inquiry as to whether the industry is turning around, with Aniplex opening an American office and online revenues increasing. Rojas responded, stating that, while they can't speak for other companies, FUNimation is seeing definite improvements. Companies are beginning to adapt to the changing landscape, and the growing legal accessibility of anime is helping to increase exposure to the hobby, which leads to increased sales, in theory. So long as companies can provide anime in a convenient manner to new and old fans, the worst of the decline is over. Sheehan agreed, stating that the industry bottomed out last year, and is slowly beginning to turn in a right direction. With Japan making more shows, and making riskier products like the Noitamina block (which included shows like Eden of the East, Fractale, and Tatami Galaxy). At the same time, FUNimation and American distributors are beginning to adapt in their distribution and their packaging. He cited the company's change in packaging, and their drive to return limited-edition versions of titles to the market, as well as an increasing focus on Blu-Ray. The industry has needed to devise back-up plan after back-up plan, going ahead as far as possible, to try and capitalize on the market at the right time. He cited that Blu-Ray sales have skyrocketed, especially at conventions. Rojas noted that anime is a part of the entertainment industry, and needs to focus on trends like other companies. He quipped that it was basically "them against Disney," as they compete against cartoons, movies, and even video games.

Gia chimed in, stating that the industry is in the middle of the "big right turn", and noted that the industry needs another big hit. both Sheehan and Rojas agreed, saying that they need a "mass hit." Sheehan noted that Summer Wars did well, as did Evangelion 2.22 with successful theatrical runs and large numbers of sales from fans and non-fans alike. However, they're still hunting for the next breakout show, the next Fullmetal Alchemist, Cowboy Bebop, or Trigun. It will happen, but there's no telling as to just what it will be. However, the industry is in the right direction, and "cool" anime is beginning to hit again. Rojas added that the company's focus on co-productions like Mass Effect and Dragon Age will be huge helps in generating interest, and are definitely viable options.

The next fan asked whether FUNimation will ever license "riskier" titles that may be popular overseas, but fly under the western radar like Oreimo. He also asked whether it would get to the point where companies would begin dubbing with the current season of anime. Sheehan stated that it's possible that FUNimation would license lower-key titles, given that the market picks up. He cited that they currently offer streams titles like Galaxy Express 999 on their site, and offer them through the FUNimation channel but cannot do a physical release due to limited sales potential. As long as FUNimation can profit (as they are a business), they will consider all options. On the second part, Sheehan stated that it takes time to create a quality dub, as they need to translate, rewrite the dialogue into a natural form, and dub the title proper. In his words, "it's like juggling chainsaws and cats at the same time." Rojas noted that dubs increased in speed greatly, while Gia quipped that the last time simultaneous dubbing was attempted was with Kurokami, and that nobody wants to attempt such a feat again.

The next question was focused on the impact of the Japanese natural disaster, and its impact on FUNimation's business in general. Rojas stated that the industry as a whole remained incredibly resilient. While there were a few small delays, the larger impact was minor at best. Gia continued, with comments about the Tokyo Anime Fair and Anime Contents Expo's cancellations, and when new dates would be announced. Sheehan chimed in, stating the the biggest impact was from the Blu-Ray production end. Blu-Ray master tapes were produced in one factory, which was destroyed in the disaster. So, there is a year delay in getting the tapes made, which caused prices to jump from $250 to over $1,000. He noted that the NBA stated that the tapes aren't there, and companies are looking into short-term solutions, such as digital broadcasts. These short-term solutions may have a long-term lasting impact on the industry at large.

Questioning from the audience continued, and an attendee asked about Blu-Ray listings that were pulled from Amazon for Strike Witches Blu-Ray combo, and why it was removed. Sheehan noted that they want to release the Blu-Ray, but there is a delay in receiving the materials for the release.

The next fan asked whether FUNimation was contemplating dropping DVD in the near future for digital distribution and Blu-Ray. Sheehan mentioned that, while there have been dips in DVD purchases on the whole, their sales have remained constant on that end. He attributed much of this to fans' openness to express their desires. He gave the classic "singles" example: only a few years ago, people paid $30 for four episodes of a show, while today, they seem to express sticker shock over a full season for the exact same price. Overall, they have made strides to make a better product, and notes that both DVD and Blu-ray will be around for several years to come, especially due to the backwards compatibility features in Blu-Ray's format. The two are complementary, though one format will ultimately succeed the other.

The conversation moved to the company's broadening of availability, and whether such actions are helping to attract fans. Sheehan stated that it absolutely does, as the barrier to get at content is shrinking at an alarming rate. As such, the only real barrier today is making people aware of anime as a whole. For this, properly targeted advertisements on web sites and other mediums are vital. Rojas mentioned that the growing influence of social media, such as Facebook and Twitter are helping to spread interest i the medium further, due to their inherent nature. He mentioned that FUNimation's Facebook has over 200,000 "likes", and new content is disseminated quickly by fans.

The next question focused on the FUNimation channel, and how content is listed and scheduled. Rojas mentioned that the network is owned by another company, which FUNimation provides content to. The scheduling of shows is decided by the network's owners, and factors in exclusivity windows, timing plans, and other logistical issues. Sheehan elaborated further, mentioning that not all of their shows have broadcast rights, which need to be acquired before the title can be shown on the air.

Another attendee inquired about FUNimation's thoughts on Hollywood adaptations of anime. Sheehan stated that, if it's a bad movie like Dragon Ball, they aren't generally thrilled. However, both bad and good titles generate publicity, and proper advertising can offer a boost in sales with property marketing. Good hits obviously get people buying the anime versions more often, which leads to experimentation with other titles. Rojas chimed in, mentioning that they'd love to be more involved with live-action adaptations, but don't often have the rights. According to Sheehan, they offered to help with the Dragon Ball movie adaptation, though nobody called them back on it. Gia mentioned that Speed Racer was underrated. Sheehan said that he loved the beginning, middle, and end, but should have been thirty minutes shorter.

The next questioner asked about how the Tokyo Youth Ordinance Bill would affect the industry. Sheehan mentioned that it's still in the "wait and see" phase. The law passed the Tokyo assembly, but it can't be fully implemented just yet, due to the nature of the Japanese government, and how laws are enacted. The big question is how far the bill will go when it finally goes into effect. The bill passed.

Another fan asked the panel about FUNimation's recent purchase, and how it would affect the company as a whole. Rojas noted that the investment group that purchased FUNimation was led by Gen Fukunaga. At the same time, Navarre is still distributing, so the situation will not change much from the outside perspective.

The panel's questioning began to wrap up, as time grew short. The next question focused on whether streams actually help sales. Sheehan replied that they are an absolute asset, as streams give people to sample a show, and lets many decide whether to purchase a title or not. At the same time, the company can offer a show's entire subtitled run, but only the first few dubbed episodes, which gives an incentive to purchase the physical release. Streams also allow fans to be recommended new shows from titles they enjoy. Another fan brought up the question of whether 3D anime would be viable in the near future. Sheehan noted that 3D is out in the wild, but the technology is currently too expensive to invest in. Because of this, they are taking a wait-and-see approach to the format.

The final question of the day revolved around the company's upcoming streaming video plans. Rojas did not have a clear answer, but Sheehan answered to the best of his ability. According to Sheehan, certain titles can be offered both as dub and sub via streaming, while others can only be offered subtitled due to licensing.

Anime Boston 2011: East to West: The Superheroes of Japan & America

Editor's note: This is it! This is the first-ever East to West panel! ^-^ It... wasn't without its issues though. I was literally working without sleep for about 2 days at this point, so I started getting a bit delirious and a bit, well... goofy to say the least! So... yeah. Apologies, there. Funny enough, some of my sleep-deprived zaniness became mainstays of the panel going forward, so... it worked out, I guess? XD

Still... it's amazing that we've been running this for seven years as of 2018. We even got a big room at a prime time slot this year! It's come a long way, with a lot of refinement, but I'm super thankful that I had some amazing co-hosts over the years. Ken and Sam are good friends, and freaking amazing presenters.

At this year's event, I had the privilege of hosting a panel with two fantastic people. A Life In Panels's Sam Kusek, Sequential Art's Ken Haley, and I joined together to deliver "East to West: The Superheroes of Japan & America." The panel was a broad look at the growth of the superhero, from American pulp rags and Japanese street plays, to modern comics and super sentai programs with a bit of bad humor thrown in for good measure.

Much to my shock, we had a packed house, with few open seats in the 100-person capacity auditorium. I didn't expect such a turn-out for Sunday at noon, when people are normally preparing to go home. However, I do thank everybody that attended, and hope that they enjoyed the show. For those that missed it, the panel is presented in its entirety below.

https://www.youtube.com/watch?v=larMCDUU8Lc 

Before I go on, I'd like to establish the following:

1. We're aware that Sentai means "team"
2. The Toei/Marvel relationship was terminated not too long after Battle Fever J.

These were more verbal slips due to fatigue from a busy convention, and I personally apologize.

Anyway, I would like to thank Sam and Ken for collaborating on this panel. I had a ton of fun, and would absolutely love to do it again next year. If it does continue, I hope to see you, dear reader, next year in the audience!

Anime Boston 2011: Stereopony Concert

Editor's Note: We actually got a Wikipedia credit for the American Idiot reference! :D Also, this was the first year where I had a pro-grade camera, so the images are much better.

On Saturday night, the excitement of the convention boiled over as lines stretched across the Hynes, and people gathered en masse in hopes that they would be able to get into the night’s big event. Stereopony was scheduled to play, and it seemed like everybody wanted in. Impromptu Pokemon battles, card games, and cosplay photo shoots cropped up as people tried to make the time go by more quickly. As 11:00 ticked by, and people rolled into the main auditorium, fans began to chatter excitedly. Some were curious about the group, others were long-time listeners hoping to hear their favorite songs.

The lights dimmed, and hush fell over the audience that was quickly broken as the band took the stage. The cheers grew to a roar as the stage lighting kicked on, and the band began playing Smilife, which flowed straight into Otome Gokoro Hey Hey Hey. The group then paused to deliver prepared statements to the audience.

After the short interlude, the group continued to burn down the house, as they played a selection of titles from their two albums, as well as the Chiisana Mahou single. Anime hits like Hitohira no Hanabira (Bleach) and Namida no Mukou (Mobile Suit Gundam 00) were played along with the group's other hits, including Cherry My and Nagareboshi. For their Boston audience, the group prepared a special treat. Midway through the show, the girls played two English songs: Wild World, a B-side from the Chiisana Mahou single, and a cover of Green Day's American Idiot.

For the show, the girls brought their absolute best. Aimi's strong guitar riffs and clean vocals were accented by Shiho's proficient drumming and Nohana's animated bass-work. The three girls seemed to relish their time on stage, as they poured their souls into each note. Even as the final song of the show wrapped up, and the band said their goodbyes, the room remained abuzz with electricity and excitement.

Stereopony, hands down, was the most entertaining experience of this year's Anime Boston.. While the music no longer echoes through the halls of the Hynes, the memories are something that will be talked about for years to come. The concert was a magical experience, and one that will linger with fans going forward.

Anime Boston 2011: Day Two, At A Glance

As part of our ongoing event coverage, I'd like to present the second travelogue for Anime Boston 2011. This installment is be a brief walkthrough of the panels and events for the day, including the State of the Industry. For those who didn't make it to the event, those who simply wish to relive the insanity, and everyone in-between, I hope you enjoy the show.

https://www.youtube.com/watch?v=SN5mxdAoIeI 

Anime Boston 2011: Closing, and our Thanks

Anime Boston has come and gone. People were met, memories were made, and an unhealthy number of articles were written. Ten hours of video, three hundred photographs, and untold hours of labor were racked up for this year's special. Sleep was a luxury, as was time to roam, or even a relaxing dinner. By mid-way through Saturday night, I was slowly cursing under my breath and ready to keel over. However, I'd still gladly go through it all over again.

In previous years, I've given Anime Boston a number of nicknames, from "the old stomping ground", to my "home away from home." And, every year, I truly mean it. Anime Boston is a convention where I truly feel comfortable. From the friendly staff, to the great attendees, the event feels small event despite its scale.

As with every year, I'd like to extend my deepest thanks to what seems like far too many people. There simply isn't enough room to list every single person, but the short list could be summed up as follows:

• Jamison Chew, who has been there to help over the past few years. You've always gone above and beyond for us in the press, be it in answering simple, often silly questions, or arranging interviews. I simply can't thank you enough. I definitely owe you a drink next year.
• The Anime Boston staff. Your dedication, devotion, and ability to make the convention run smoothly year after year never seems to get enough recognition.
• Aimi, Nohana, and Shiho of Stereopony, both for an incredible show and for taking time out of their busy schedules to chat. You are fantastic people, and I wish you the best in your musical career.
• Ryu Takahashi of Sony Music, for his help in coordinating our session with Stereopony. You've always been a huge help, and it's greatly appreciated.
• Chris Beveridge, for your insight and great sense of humor, as well as being an all-round great fellow.
• Mike Toole, for proving that Captain Harlock turns even crap anime into something epic.
• Sam Kusek and Ken Haley, for being great people, and excellent panel co-hosts. You were both great, and I hope that we can return to the subject next year. A double-thanks goes to you, for giving me an invitation to to host with you.
• Patrick D and Jekka from The Chibi Project (chibiproject.com), for giving a good use to bad toys and for proving that Derek Jeter, even in figure form, poops money when hit.
• The dozens of cosplayers whose dedication and hours of hard work make every convention a real treat.
• The winners of our contest - I didn't get a chance to take down all of your names, but I'd like to mention those who did leave their info:
  • Joe Ortiz
  • Brian Costa
  • Zachary Coursen
  • Manny Cabral
• You, dear reader. Thank you for reading this feature.

The next Anime Boston, Anime Boston X, is slated to run from April 6-8, and you can be sure that I will be there in some form. Until next year's convention, this is M. Ferreira, signing off.