#anisama 2017

[flipomatic]

[saitou-shuka]

Aqours after Animelo Summer Live 2017 THE CARD 08.25!

[enishij]

Anisama 2017

Today’s Style: Rock (?) Shouta got 62 belts on his outfit / made his outfit

The white outfit is cosplaying Kisaragi Rui from “King of Prism by PrettyRhythm”

Which one do you like?

Source: twitter @shouta0811aoi 

[animecat33]

Con haul for anisama 2017. On saturday i was too stressed out to shop, worrying about my first contest, but on sunday i had plenty of time. 

- mystic messenger stickers by @dserpentes 

- Lady Loki and Stein cosplay prints by Namelessdreamercosplay

- Some cat paws from a tore whose card i lost (sorry!) and some pocky from Bubble Love

-  Death parade and ore monogatari stickers, Mystic messenger charm, death parade and deadpool prints by @unresgisteredcat

- Yuri on ice charm by @midreky

- Vocaloid and Free iwatobi swim club minifigures from kingpin books

And lastly, i won best costume at the cosplay contest and i won an art print from Nisi Stuff ( i also bought a nightwing sticker from here but i can’t find it :/ maybe it fell out of my bag), I also won a bone shaped hair clip and a hello kitty pencil. Along with a 20€ voucher for kingpin book and a cosplay showcase with World of Honor Productions

Sorry for long post, i like to credit the artists as much as possible

[dserpentes]

Eu e a @lomihime já estamos no Anisama !!1 venham dizer olá 😁

[b-project-nakedo-blog]

THRIVE & KiLLER KiNG’s performances in  Animelo Summer Live 2017 - THE CARD-!

HERE 

HERE - Backstage

[aishiteruitsumo6]

Shoutan’s Blog Update - 2017-08-28 - FC Event & AniSama!

*Do NOT Repost*

I’m sorry for not being able to update much ｡ﾟ+(σ´д`｡)+ﾟ・ｸｽﾝ… It’s been a while since the last updated! First of all, about the FC event. This year was in such a place like Pacifico Yokohama, I’m really grateful that the Fanclub event was able to be held in yet another big venue. All the fans who came from various places gathering and filling the venue up. Thanks so much. To be able to have so many people celebrate my birthday for me, normally such a thing would impossible. Having Happy Birthday being said to me by my friends, family and companions too, I am really happy. I was thinking that I want to always be with everyone from now on too then, 『Zutto…』 ‘s chorus from everyone. Somehow while I managed to stop my tears, I was able to listen to it until the end. Happiness. And, since the venue got bigger The seats were futher away. I’m sure there were people who thought, it’s lonely. That’s why, I didnt’t want to make a seat like that. I wanted to be able to make everyone feel, that no matter what seat it was, that they’re really glad they got that seat. From now on too, I want to be able to keep making events or LIVEs with memories like that. Once again, thanks so much! And Animelo Summer Live 2017 the card! My appearance for the 3rd year running. To myself, this time was the best within all. Even having said that, of course I also nervous though Dispite that, I was able to enjoy myself honestly. Up until now, I kept thinking that, I must show a decent performance! There was no such room (for mistakes). However this year, it seems like I relaxed a bit… (it was thanks too all the warm people.) (like kind and friendly) Without forcing myself*, I was able to stand on the stage until the end naturally! I’m happy if everyone was able to enjoy it. My long dream, has been granted for 3 continuous years. From now on too, no matter what dream it is, so that it will continue being granted one by one, and so that I can entertain everyone I want to keep devoting myself. From now on too, yoroshiku ne! Really thank you very much! It was fun~ !

*Thank you to my friend who helped me with this part💖

[hiinosakusaku]

Animelo Summer Live 2017 Theme Song - Playing The World

Music&Lyrics: ZAQ Arrange: ZAQ/EFFY

Singers:

(OxT) - Masayoshi Ooishi & Tom-H@ck

KISHOW (GRANRDOEO)

Suzuki Konomi

Minori Chihara

TRUE [ Miho Karasawa ]

DRAMATIC STARS(IDOLM@STER SIDEM) -  Shuugo Nakamura, Yuuma Uchida, Taku Yashiro

Megumi Nakajima

Yoshino Nanjo (fripside)

Wataru Hatano

Luna Haruna

Pyxis - Miku Itou & Moe Toyota

Saori Hayami

Machico

Minami [ Minami Kuribayashi ]

Suzuko Mimori

Milky Holmes - Suzuko Mimori, Sora Tokui, Mikoi Sasaki & Izumi Kitta

ZAQ

[iloveaqours]

Anshuka~🍊⚓

[flipomatic]

[saitou-shuka]

Post-Anisama Day 1 pictures with Shuka and friends! [1, 2, 3]

[315-no-stage]

I would like to dedicate 2019 to JAPAN. Specifically, Tokyo.

In this year alone, I had the pleasure of visiting three times for several events. From the night of my arrival to the day of my departure, there was something interesting to do. Two of those three trips, I made on my own. I'm so proud of that because that meant conquering my anxiety as well as my horrible sense of direction. The more I go to Japan, the more confident I am with my grasp of the language. I learn more about the country and culture... and about myself.

In the 1st photo are the tickets for the shows I watched. Not pictured are the 3 incredible nights of Animelo Summer Live (digital pfft). As you can see, I'm a fan of seeing live theatre more than once. In those shows, I saw my main loves: Mayu Yoshioka, Hiroki Ino, Haruto Sakuraba, and Kento Ito. The 2nd photo shows the precious chekis I collected this year. Two out of luck lol, the other 3... YOLO! Starting from The Tokyo Battle to the TFG events, I managed to see Raba in person 15 times, over 3 trips. I still pinch myself over that fact. Idk what it is that drew me to him. I just... wish the best of everything for him! It seemed that every trip I made, there were a whole slew of events going on at the same time. Of course, some of these events were the reason why I went anyway but much of it is just perfect timing.

I'm super thankful to see Kento Ito in his element, twice, in a reading drama. What a treat that in one of them, he was acting with Mayu. I was also able to sing along to "Drive a Live" at Anisama 2019. It was in Anisama 2017 that I first heard of SideM even. That was a full circle moment, among many other things.

To celebrate my other loves, Gundam and Trails of Cold Steel, right at the source was fun as always. I don't really have IRL friends who like these same things so when I'm at The Gundam Base/Cafe or the Sen IV Cafe, I felt that I was with my people.

Honestly, 2019 was nothing short of overwhelming. Here's to hoping 2020 will be the same, if not better! 🧡💜💛

[theanimepost-blog]

[OPINION] C3AFA Jakarta 2018, Alasan THE LAST AFA di Indonesia?

Berikut ini hanya merupakan Opini-opini, bukan merupakan hasil wawancara langsung ke Staff Sozo ataupun pihak yang terlibat. Artikel ini hanya mengajak anda berpikir dari sisi seandainya kita sebagai yang penyelenggara. Pengumuman resmi AFA melalui Facebook mereka pada 28 Agustus 2018, mengemparkan para fans / otaku / weebs / wota di Indonesia, dan dalam hitungan jam shares mencapai ratusan kali.

Salah satu alasan yang dikasih tahu oleh pihak penyengara AFA, yaitu SOZO lewat

Antaranews

yaitu mengatakan:

"Rencananya kita mau kembali ke sini, cuma kondisi-kondisi di Indonesia terutama terkait logistik, menyulitkan pihak penyelenggara untuk membuat event di sini dibandingkan di negara-negara lain," ujar Mari Hendro kepada Antara.

Mengapa disini disebutin hanya salah satu, dikarena posting di FB jelas-jelas mengatakan " Due to various reasons ". Dalam Wikipedia disebutkan bahwa Logistik merupakan seni dan ilmu, barang, energi, informasi, dan sumber daya lainnya, seperti produk, jasa, dan manusia, dari sumber produksi ke pasar dengan tujuan mengoptimalkan penggunaan modal

Alasan Logistik Produk

Alasan Logistik Produk, merupakan salah satu alasannya, dimana seperti diketahui bahwa sekarang Dirjen Pajak yang dibawah Kementrian Keuangan sedang gencar atas menaikkan Pajak dan juga menahan barang-barang di impor masuk. Barang-barang yang dijual di dalam AFA ini hampir semuanya merupakan barang impor, contoh paling gampang, figure yang anda beli itu pasti kalau tidak Made in China, yah Made in Japan. dan itu pengaruh juga terlebih vendor besar dari Jepang untuk jualan ke Indo (apalagi harusnya FOB USD diatas 1.500, atas barang yang di impor).

Dasar pengenaan pajak terutama di Indo untuk FOB USD 100 sampai USD 1.500:

Pengenaan tarif bea masuk sebesar 7,5% sebagaimana diatur dalam PMK 182/PMK.04/2016.

Pengenaan tarif PPn sebesar 10% sebagaimana diatur dalam UU PPN.

Pengenaan tarif PPh Impor sebagaimana diatur dalam PMK-34/PMK.10/2017.

Dalam hal tidak dapat menunjukkan NPWP maka akan dikenakan tarif PPh 100% lebih tinggi, sebagaimana diatur dalam UU PPh Pasal 22 ayat (2)

Contoh Perusahaan seperti Kotobukiya, GoodSmile yang masuk ke Indo, kalau mau bawa figure yang limited, tentu sudah kena biaya diatas dan mahal banget, mereka tentu mempertimbangkan apakah untung? atau rugi?, kalau rugi dan terlebih rugi besar mending diskip saja, mereka bukan perusahaan negara yand disubsidi, cari untung itu wajar banget. GoodSmile seperti diketahui lebih ke mendorong Distributor lokal untuk buka, ketimbang mereka sendiri yang buka (Boss nya sudah lebih fokus ke GoodSmile Racing Super GT). Distributor lokal GSC di Indo adalah MultiToys, dan balik ke distributor itu apakah mau buka di AFA atau tidak, bukan suatu keharusan untuk buka diAFA.

Alasan logistik produk

Selain alasan logistik produk, juga paling penting diantara semua itu logistik manusia. Logistik Manusia yang disini dimaksudkan, Ia adalah Para tamu-tamu yang hadir di AFA. Kalau anda sadar produk utama dari AFA yaitu Konser I Love Anisong, mendatangkan artis ke Indonesia bukanlah hal yang gampang, apalagi Artis yang merangkap Seiyuu. Biaya yang dikeluarkan untung mengudang artis Jepang ke Indonesia, bukanlah murah, mungkin bisa mencapai puluhan hingga ratusan juta YEN. Masalah artis diundang tentu juga bergantung pada Jadwal mereka di Jepang apakah Sibuk banget? dan Kondisi-kondisi yang diminta manjemen. Contoh yang mungkin bisa diambil seperti Konser Coldplay di Indonesia yang tidak terjadi:

https://www.idntimes.com/hype/entertainment/francisca-christy/alasan-kenapa-coldplay-tidak-konser-di-indonesia/full

dalam berita disebutkan,

bahwa tiket pre-sale bisa capai 3,3 juta rupiah untuk paling murah, venue yang harus berkapasitas besar, pemberitaan Indonesia, khususnya Jakarta sebagai ibu kota, banyak mengandung hal-hal kurang positif dan juga tantangannya sangat tinggi buat EO untuk mengundang suatu artis.

Mungkin anda akan ngomong, bahwa dibandingin level Coldplay terlalu tinggi. tapi alasan yang disebutin itu biasa juga merupakan salah satu requirement yang diminta manajemen artis, dan disitu mulai proses negosiasi manajemen dan EO. Selain masalah cost mengundang artis juga, ada tiket pesawat dan juga visa yang mereka datang kesini merupakan visa kerja (baik itu artis dan juga manajer yang ikut) visa kalau tidak salah butuh biaya sampai 10juta per orang. Berikut ini tambahan yang mungkin menjadi salah satu alasan kenapa AFA di Indonesia ditiadakan lagi:

EKONOMI & RUPIAH

Perlu anda ketahui situasi ekonomi, terutama mata uang tercinta kita Rupiah terhadap YEN atau Singapore Dollars (USD diskip aja, sudah suram). Pembayaran kepada artis dan juga tamu-tamu yang hadir diAFA itu pasti berupa YEN, kalau tidak yang bentu SGD atau mata uang luar negeri lainnya yang lebih stabil ketimbang rupiah yang terus-menerus melemah. 

Dalam grafik diatas ini bisa dilihat dari AFA ID pertama 2012 sampai 2018 sekarang, kurs rupiah terhadap YEN atau SGD itu juga berimbas pada harga tiket masuk kita (baik itu tiket exhibition ataupun tiket konser). Jika kurs rupiah makin turun, tentu artist diundang tidak bisa banyak dan wah-wah banget, karena pasti harga ditiket pasti lebih mahal dari sekarang, dan pasti dikeluhin para fans di Indonesia (harga yang kemarin C3AFA Jakarta 2018 saja, sudah banyak yang teriak kemahalan). Selain itu juga biaya sewa venue yang tergolong mahal dan pajak yang dikenakan untuk perusahaan tipe entertaiment. Pajak juga dikenakan kepada artist yang hadir, kalau tidak salah kisaran 20%.

Iklim Tahun 2019, Pasca Asian Games dan Pilpres

Secara langsung tentu tidak ada pengaruh, tetapi balik berhubungan erat satu sama lain. Dimaksud adalah kekhawatiran terutama pada Rupiah dan Pajak yang akan terjadi pada tahun depan. Perusahaan baik itu yang entertainment ataupun yang lain juga memprediksi dan juga berbuat keputasan yang supaya tidak merugikan. Maksudnya mending dibatalin saja dengan kondisi yang kurang menyakinkan terlebih tahun depan.

Komentar Indonesia, khususnya di Facebook banyaknya mengandung hal-hal kurang positif.

Mungkin diantara kalian pernah dengar perusahaan luar negeri sering minta sosial media pelamar untuk mengecek perilaku seseorang pelamar. Hal in juga mungkin berpengaruh juga kenapa AFA ID ditutup. Anda bisa baca sendiri pas pengumuman AFA di Indo tahun pertama 2012 dengan setelah nya sangat beda, dulu-dulunya merasa bersyukur, setelah itu yang terjadi mayoritas ada kritikan sampai kritikan pedas yang. seperti:

1. Kritikan terhadap Jadwal, Venue, Ticket Price.

Alasan jelas jadwal AFA ID selalu diselenggarakan pada bulan Agustus atau awal September tentu tidak pernah dijelasin secara detail. yang diketahui cuma AFA ID selalu diselenggarakan setelah Hari Raya Idul Fitri, dan warga yang luar maupun warga jakarta sudah kembali ke Jakarta. tapi jelasnya tidak pernah disebutkan. Venue, fans indonesia sering meminta venue dikembalikan JCC, tetapi kalau dilihat harga venue JCC yang terus naik, yang makan cost yang besar jadi akhirnya pindah ke JIEXPO lagi, itu sangat wajar terjadi untuk event apapun. Lalu pada tahun ini 2018, banyak protes kenapa harus di ICE (Indonesia Convention Exhibition) tetapi lupa akan soal JCC dan JIEXPO dipakai semua untuk Asian Games 2018. Harga tiket mahal yang merupakan hal yang sering dikiritik oleh para fans, tetapi kalau dibandingkan dengan AFA Singapura tahun lalu. Alasan mungkin bilang tetapi AFA SG lebih bagu dari AFA ID, Ini balik lagi ke Logistik Produk dan Rupiah kita.

2. Kritikan terhadap Artis-artis yang hadir.

Sebagian besar komentar pada Artis yang diundang ke AFA Indonesia berupa komentar yang negatif, bukannya merasa bersyukur. Tetapi malah bilang artis buangan dari AFA SG (bahasa kasar dari komentator), Balik lagi ke alasan logistik tadi selain hasil negosiasi juga merupakan kontrak terhadap artist itu, jika kontrak yang ditekan EO tampil di untuk SG & ID, apakah merupakan buangan? terlebih lagi komentar yang paling aneh, mengatakan bahwa artist yang diundang bukan merupakan TOP Artist Anisong, Cuma ingin tanya kembali ke komentator itu Top Artist Anisong itu harus seperti apa? Tahun ini kita ada Suzuki Konomi, Megumi Nakajima, TRUE yang pernah tampil event anisong terbesar di Jepang, Anisama (Anime Summer Music Festival) bukan merupakan artis top? Ami Wajima, Mashiro Ayano, BAND-MAID juga terkenal di Jepang, Bisa dibilang adalah kdangkalan informasi terhadap anisong pada komentator tersebut, yang kerja cuma kritik, sama mengslash manajemen dari jepang enggan membawa artis ke Indonesia. Kejadian serupa sebenarnya terjadi di AFA SG 2015, dimana sebagian fans (tidak sebanyak Indo yang tiap tahun banyakkan komentar negatifnya), dimana dengan slogan Reboot mengundang berkolaborasi dengan Ps*Live! yang artis sekaligus seiyuu seperti Ayana Taketatsu, Maaya Uchida, Shiori Mikami, Yumiri Hanamori membawakan para seiyuu yang terjun ke anisong yang baru, terbukti sekarang mereka merupakan salah satu top artist di Jepang. Ketika berharap mengundang seperti THE IDOLM@STER, Love Live!, JAM Project, etc... etc... perlu diingat lagi kondisi pertama Logistic Manusia, serta ekonomi indonesia (kurs) kita sekarang. Bahasa lainnya liat realitasnya saja, memungkinkan? jawaban susah~ Apalagi yg Idol-idol gituan, Manajemen berbeda tiap idol, dan sudah jadi Seiyuu untuk anime (ingat recording anime buka Live hari itu, tetapi jauh sebelum itu), jadwal konser / konser tour lokal, acara anime lokal (yang juga weekend), acara radio malam (A&G+ cnth salah satu), recording new single, photoshooting etc... . Di Jepang saja konser IM@S juga kadang tidak full member lengkap, kalau di Singapura 2014 juga begitu.

Fans Base Indonesia?

Jika liat sebagian banyak fans / otaku /weeb hanya mengikuti saja perkembangan yang HYPE-HYPE saja, itupun selalu berharap pada yang mainstream - mainstream saja. AFA ID dilaksanakan pada agustus, sudah masuk summer anime dan baru berakhir tidak lama anime spring, dan sudah mau artis - artis yang season tersebut, asli jga tidak bisa secapat gitu. mayoritas hanya penikmat saja, ada yang mainstream baru yah ikut yang baru saja. Yang Lama? ditinggalin sudah, contohnya ketika mengundang Ke-2 kalinya LiSA sebagian sudah bilang sudah malas, tetapi sekarang malah berharap LiSA nya balik, dan Konser sehabis AFA nya dimana konser Acoustic pertama di Luar Jepang, dan pertama di Pullman Jakarta, juga sepi yang datang. Selain itu mungkin pada masih ingat mimpi bagus sekalgiu mimpi Buruk, " MikuPa Indonesia " voting memang banyak, ketika harga yang rilis, teriak kemahalan, sampai sempat muncul komentar " tinggal nonton di youtube / bajakkan~ ", sampai akhirnya dipost " The first dan The last Mikupa in Indonesia ". Dengan hilang AFA ID, tentu merupakan bisa dibilang bahwa Pasar Anime di Indonesia tidak terlalu berhasil. Kalau tidak setuju tinggal sebutin saja event Anime di Indonesia apa? Mungkin anda malas mebaca essai yang panjang ini kalau disimpelkan

Pasar Anime di Indonesia tidak menyakinkan, alias merugi terus.

Mau Artis bagus.... Tapi dengan artis gini saja teriak mahal, apalagi artis yang lebih bagus dan lebih mahal?

Bukan Artis buangan dari AFA SG, tetapi kontraknya di masukkin ID, supaya Indo kgk kedikitkan artisnya.

Komentar negatif anda tidak hanya dibaca EO, tapi manajemen juga.

Ingat Kurs kita lagi hancur, kalau lebih mahal yah wajar saja sih, bayar artis bukan dengan Rupiah, tetapi YEN / SGD.

Mayoritas Fans ke AFA cuma Anime, bukan Anisong. Tetapi Main Produk AFAnya itu Anisong.

Mayoritas Fans maunya yah season terbaru, tetapi tidak segampang gitu. dan yang lama dimana? ditinggalin?

Artist yang dibawah AFA itu merupakan campuran Top List Artis kok, yah anda sendiri saja yang tidak tahu.

Ini Perusahaan Swasta tidak disubsidi ama pemerintah jadi jangan harap murah-murah / gratis masuk (MikuPa itu karena terpaksa sih, dibilang biar rame).

PAM (Penang Anime Matsuri) itu disupport pemda Penang.... Sponsor utama~ Indo tidak.

Akhir kata, mau bagus-bagus tapi mahal, mau murah tapi yah standar gitu, cuma tahun ini terakhir C3AFA Jakarta 2018.

Menurut anda sendiri apakah bakal ada AFA di Indonesia lagi?

Kalau dari penulis

NO

, Isu AFA ID terus merugi yang alasan jelas bisa dilihat dari atas ini sih, pasar anime indo berbeda dengan SG juga, kebanyakkan komentar negatif ketimbang positifnya/

YES

, Isu AFA akan kembali 2020 dengan format yang baru or brand yang baru yang skala lebih kecil dari AFA itu sendiri.

mungkin tipe kayak CSF (Creators Super Fest), event yang digolongkan kecil oleh EO.

Tipe PAM? tapi kalau ada sekelas pemda / pemkot yang mau sponsorin eventnya nanti kayak PAM Penang.

[ame77lala]

Day 3 Anisama

01. crossing field～Chase the world / LiSA×May'n Sumire Uesaka 02. Inner Urge / 上坂すみれ 03. 踊れ！きゅーきょく哲学 (Odore! Kyu-kyoku Tetsugaku)/ 上坂すみれ The Idolmaster: SideM 04. Beyond The Dream / アイドルマスター SideM 05. MOON NIGHT no Sei ni Shite～ HIGH JUMP NO LIMIT～ Study Equal Magic! / アイドルマスター SideM 06. DRIVE A LIVE / アイドルマスター SideM Luna Haruna 07. ステラブリーズ (Stella Breeze)/ 春奈るな 08. アイヲウタエ(Ai wo Utae)～君色シグナル(Kimi-iro Signal)/ 春奈るな Inori Minase 09. Starry Wish / 水瀬いのり 10. アイマイモコ (Aimai Moko)/ 水瀬いのり Hanako Oku  11. キミの花 (Kimi no Hana)/ 奥 華子 12. ガーネット (Garnet)/ 奥 華子 Yui Ogura 13. Future Strike / 小倉 唯 14. ハイタッチ☆メモリー (High-Touch☆Memory)～Honey♥Come!! / 小倉 唯 Maon Kurosaki 15. Magic∞world / 黒崎真音 16. VERMILLION / 黒崎真音 Milky Holmes 17. Milky 100 World～ Nakimushi TREASURES ～ Card Game Shiyoko～ Pleasure Stride～ Nakimushi TREASURES/ ミルキィホームズ 18. 正解はひとつ！じゃない!! (Seikai wa Hitotsu! Ja Nai!!)/ ミルキィホームズ 19. Last Proof / ZAQ 20. Alteration / ZAQ 21. Sparkling Daydream / ZAQ feat. 内田真礼＆上坂すみれ (Maaya Uchida & Sumire Uesaka)   22. 無敵*デンジャラス(Muteki*Dangerous)/ B-PROJECT 23. Hungry Wolf～dreaming time / B-PROJECT 24. 永久パラダイス(Eikyuu Paradise)/B-PROJECT 25. One In A Billion / Wake Up, May'n！ 26. 恋？で愛？で暴君です！ (Koi? de Ai? de Boukun desu!)/ Wake Up, Girls！ 27. Beyond the Bottom / Wake Up, Girls！ 28. Reason Living / SCREEN mode 29. MYSTERIUM / SCREEN mode 30. おジャ魔女でBAN2(Ojamajo de BAN2)/ MILKY mode Maaya Uchida  31. ギミー！レボリューション(Gimme! Revolution)/ 内田真礼 32. +INTERSECT+ / 内田真礼

33. オリジナル。(Original.)/ TrySail 34. adrenaline!!! / TrySail 35. oath sign / LiSA 36. だってアタシのヒーロー。(Datte atashi no hero)/ LiSA 37. Catch the Moment / LiSA 38. Rising Hope / LiSA Nana Mizuki 39. TESTAMENT -Aufwachen Form- / 水樹奈々 40. Destiny's Prelude / 水樹奈々 41. Invisible Heat / 水樹奈々 42. UNLIMITED BEAT / 水樹奈々 43. Playing The World / Anisama 2017 Starring artists

[yujachachacha]

Hi, Yuja! I'm doing research for school on fan communities, and one of the communities I've selected is Love Live! Do you know the history of how this fandom was formed and how it developed? If not, do you know anyone else who does? I haven't been around long enough to know myself, but you seem knowledgeable!

I don’t know why y’all think I’m some kind of LL expert, because I’m technically a relatively new LLer. I downloaded LLSIF in December 2015, and I didn’t even have the names of the µ’s seiyuu memorized until right before Final Live. :’) I’ll admit that it does look like I know a lot about LL, but that’s only because I put effort into researching the series and doing my best to catch up to all the info out there. I’m the “pick one thing and be really good at it” type when it comes to choosing fandoms (which is why I always answer with “huh what?” when I get asks about other series lol), so I guess that’s why I might seem like I’m a veteran of the fandom.

Truthfully, if you want a primary source about developments in the fandom, I can really only offer details about what it’s like to be an Aqours fan. Unlike some LLers I know, I joined the fandom too late to take part in events such as the global LL movie screening. If you want to know about NA LLer culture for Aqours events (e.g. the 1st Live screening, AWM 2017, 2nd Live screening), the history of Team ONIBE, or even a little bit about the build-up to the Yousoroad at the recent Aqours fanmeeting in Seoul (I had been following the Twitter account in charge of that stunt for many months and was pleasantly surprised at how quickly it grew), I could probably provide some info. However, if you’re looking for firsthand accounts of what it was like being a fan during the rise of µ’s, I suggest making a post on the Love Live! subreddit (/r/LoveLive). The subreddit and its mods have been around for much longer than I have in this fandom, so they might be able to help you out there.

As for how the fandom was formed - what exactly do you mean by that? Fandoms are created around a series by default, so…? Like, Dengeki G’s Magazine published news about a nifty new thing called a “school idol project” back in 2010. People liked it, and so the fandom was born. It got a decent following, enough for the cast to do a small live concert, and then an anime. Once the anime aired in 2013, the project exploded in popularity, with live concerts at venues that increased in size as time went on, culminating in a 2-day live screened at various locations around the world for the final performance in 2016 at the immense Tokyo Dome. As the project grew, the fandom grew along with it until it reached the millions of LLers it has today.

Meanwhile, as µ’s was wrapping up its activities, its successor - Aqours - also began the journey from a concept in a magazine to a super-popular idol group of its own. Their history is a lot shorter, but also complicated by the fact that they grew off of the popularity of µ’s. It’d be nigh unavoidable to talk about Aqours without giving context about µ’s.

Here’s some suggested reading:

Love Live! Wikia article on the history of Love Live! - Self-explanatory. It’s a great source if you want to know each landmark publication for the series. They also have a separate article for Love Live! Sunshine!! if you’re interested in that as well.

Lantis Music Producer Kisara Yohei analyses the reasons for the success of ‘Love Live!’ - In summary, inspiration stemmed from how seiyuu would perform live for series like iM@S and Milky Holmes (which Mimorin and Soramaru are a part of), so the producers decided to take a gamble and ride the 2.5D idol wave. The rest is history. There’s some good commentary here about why LL is so beloved by its fans.

LisAni Vol. 27.1 Interview with Mimori Suzuko - Mimorin remarks, “Theyear 2015 could be called the year of µ’s, right?” due to µ’s being at the peak of its popularity (aside from the outpouring of LLer feels during Final Live in 2016 of course). Notably, µ’s performed in NHK Kōhaku Uta Gassen, which was a really big deal. To explain: it’s an invitation-only program that features the most popular music artists of the year. Performing in Kōhaku is a huge honor because it’s a mark that you’ve “made it” as a nationally-recognized artist (as opposed to a concert like Anisama, which specializes in anime music).

In fact, if you have the time, check out the LisAni Vol. 27.1 masterpost and read each µ’s member’s thoughts on the growth of the group.

There are a bunch of µ’s and Aqours articles translated by various people scattered around the web, and a number of them contain interview questions asking the cast about their thoughts on the growth of their respective groups. Post-live interviews in particular are prime material. The LisAni Vol. 27.1 µ’s interviews, for example, were done half a year after Final Live and have lots of reflective questions. Another interview I liked was the Seiyuu Animedia 2017 AZALEA piece, where Arisha mentioned that part of the choreo for “Tokimeki Bunruigaku” during 1st Live was inspired by the “Nightingale Love Song” performance by Printemps in the 5th µ’s live.

If you’re talking about the fandom in terms of the community - as in, the unique fan culture - then as a Former Student Who Had to Write Research Papers for School™, I would also offer the following advice: find a way to narrow your topic. If you’re just writing some kind of history paper on how LL became a global phenomenon, then all you’d probably need is the history page I linked above. However, if you want to write about LLers in general, the scope of that kind of topic would be way too broad for a paper you’re writing for school. The LL fandom is global, and large enough that each region has its own unique culture. There’s a huge difference between Love Live! fans in Japan vs. LL fans in North America vs. LL fans in Southeast Asia vs. LL fans in China vs. LL fans in Korea vs. LL fans in Europe vs…you get the point.

The important thing is, have a question in mind that you want to answer and do your research so that you can provide a satisfactory answer. Are you curious about the success of Korean LLers for the Yousoroad project? Do you want to cover the astounding growth of American LLers in 2016? Will you be analyzing the uniqueness of prominent figures in the fandom (e.g. translators and so-called “seiyuu mods”)? Or are you willing to take on the task of tracing the lengthy history of the rise of µ’s? There’s a lot of material to cover, so you’ve got a lot of options!

[b-project-nakedo-blog]

Do you have a link to the animelo 2017 performance?

Hello anon~

Yes I have posted it here in my blog HERE