#crunchyroll expo

[xice-fire]

A multiple day con be like that 

[8bitdigi]

Bay Area Fan Conventions to Plan for in 2023

From minor events to major conventions, this is a guide to all the fan conventions that will take place in the Bay Area in 2023.

Conventions to Plan for in 2023 Happy 2023, it’s time for the Bay Area fandom community to start planning which conventions they want to attend. Chances are that you had a blast last year and are excited to make new memories. Or, it has been a long time since you attended one and you want to make the most of it in 2023. That is why we have created this guide to help you plan. From major events…

[arbitrarygreay]

No idea what cons look like post-pandemic, I haven't gone to any. Probably a mistake given that I missed out on Atarashii Gakko at CRX, apparently

Crunchyroll Expo 2019

This is mainly in response to the things I heard at the feedback panel. 1. I have so much sympathy for the staff who were the panelists. I also hope they don’t give too much weight to the criticisms they heard there. The panel seems to self-select for the most obnoxious tone-deaf non-central attendees, given that the vast majority of attendees were enjoying themselves elsewhere, instead of bombarding the staff with their hare-brained suggestions. 2. From what I experienced, Crunchyroll Expo has a distinct identity as a large anime convention: succeeding strongly where Japan Expo USA failed, as a convention centered around professional guests, and even moreso around guests from Japan. I’d say all of the panels were associated with people working in the entertainment industry in some form. Thanks to the Crunchyroll origins, they had the connections to be credible to the Japan guests, the clout and name recognition to attract attendees early on, the capital to fund the production value, and very importantly, the local expertise to much better handle location logistics than JXUSA could. I quite like this distinct identity, and CRX shouldn’t stray too far from that. It’s not Fanime, PAX, or SacAnime, and it shouldn’t try to be. There were lots of suggestions at the feedback panel for more community events, and I wouldn’t want the con to go too far in that direction. Keep gaming centered on Japanese arcade stuff, with maybe some Japanese game E-sports, but don’t go full LAN party with any games allowed. Add a tabletop room, but don’t let just any American/US game be there, try to introduce attendees to specific Japan-associated games, like hanafuda, kabufuda, or karuta-based games, and the few translated Japan TTRPGs. The point is, CRX is a con where attendees are funneled towards learning new things about Japan’s entertainment industry, through industry professionals, and to experience new anime. Don’t let things non-central to that take up too much air. Again, the vast majority of people weren’t attending that feedback panel exactly because they were enjoying all of the central content of the con, so the people complaining about the con not being about other stuff, trying to turn CRX into other cons, were atypical attendees. 3. On that note, I was very impressed by the breadth of industry aspects showcased. Previous cons tended to be actor-focused, both in guests and in which panels were popular with attendees. Thanks to work by sakuga enthusiasts, especially the folks behind Sakugabooru, lots of people are paying more attention to technical staff. CRX, too, did a great job making the case to prospective panel attendees why they should be excited to see these guests. The moderators would give the audience context, and the guests themselves would often be just as excited to see the clips of their own work, giving them inspiration for commentary to make, and the live drawings, of course, were just great. Major kudos to the moderators, in general. You could tell that they were all passionate about their guests, had thought really in-depth about the questions to ask, and they often had a nice chemistry with the guests, which helped bring out some less stiff answers than might be expected. (Translator quality varied as usual, but I know that the guests are usually bringing their own, and not something CRX can control. And there were certainly some stellar translators there, too.) But yeah, breadth. There were directors, producers, animators/storyboarders/character designers, mangaka, all sharing their special insights, and I was very pleased by how much music content there was, as someone who tends towards that part of the industry. The only aspect that was arguably underrepresented would be writers (script writing/series composition for shows, or LN authors). 4. I was also very impressed by the scheduling. Guests were almost all slotted for 2-3 events, and events overlapped so that if I missed a particular guest on one day, I could catch them at another event at least once on another day. As with the previous point, the way the breadth was overlapped was that even if I attended all of the music-related panels, I was still attending panels for all of the other aspects of the anime creation process throughout the day. Very excellent scheduling. The only panels that I missed (weeping for missing Junji Ito’s kitties) were because I let my guard down after Friday, and didn’t camp for some events that ended up full room. And even then, those few panels probably didn’t need insane amounts of camping, either, just 15-30 mins. That’s a heavenly amount of camping, when I’m used to having to block in 2 hours before anything I want to attend, at other cons. Thanks very much for the large capacities afforded to every panel. 5. Criticism: screenings, of all things, should not ever go off schedule. Panels, I can understand, because panellists might run late, but there’s no reason for a screening to start late, unless there was technical difficulties. I had scheduled a particular screening which would end 15 minutes before the next panel I would attend. Instead, the screening started over 15 minutes late, and I missed a good chunk of the end because I had to leave for that other panel. Luckily this screening was for something already released in the US, so I’ll be able to finish the movie, but there were a few unique premiere screenings at the con, and that room being off schedule could have soured other attendees’ experiences a lot more than it did mine. 6. Minor criticism: The app wasn’t accessible on my phone. I was able to get by with internet, as new schedule content was added on the website as well (and thank you for that!), but I wouldn’t get updated time stamps as the app users did. Please don’t assume that everyone has the newest OSes when writing the app in the future. My phone isn’t even that old, only a couple of years. On that note, I wasn’t thrilled with the format of the schedule. With the way everything overlapped in offset intervals, sometimes it wasn’t obvious where events in different locations were in relation to each other, and I did miss some panel content once because I had misread the time, due to how the single-column scrolling obscured the amount of overlapping. The location filters do nothing to help with that. I understand that a traditional spreadsheet timetable (location columns, timestamp rows) isn’t sexy aesthetics, and has very unsexy horizontal scrolling in a smartphone context, but that’s actually where the oversized newspaper con guide could shine, or in a traditional booklet, a foldout insert. (Btw, I thought that the newpaper con guide was fine. It gives more space and bigger font size for reading accessibility, and was likely cheaper to print and assemble than a booklet, which needs glossy paper, more pages, stiffer folding, and required stapling.) 7. Very minor criticism that CRX may not be to control: as said before, I tended towards the music content of the con, but only Flow had their music on sale at the con. So there would be all of these artists promoting their work, and I’d be fired up about them after their panels…but there would be nowhere in the con for me to throw money at them. I understand that bringing stuff to sell is on the artists, but maybe coordinate some sort of “music guest merch” table somewhere, so that the logistics burden for selling products is lowered for all of them? Anime NYC did it for their Anisong Matsuri lineup last year, where there was a single merch table, manned by a few cashiers for all of the artists there, so that each artist didn’t have to provide their own sales staff, and shipping costs of importing the stuff was also reduced because of consolidation. Even for artists who don’t have physical CDs, they could do something like sell a code to redeem the purchase later. But yeah, overall, I had a great time at the con! I learned a lot, laughed a lot, danced a lot, and what more can you ask for?

[pancake-breakfast]

Sorry it took me so long to get these notes up. Between internet issues and pure busy-ness, it's been rough. But here they are! The notes from AX Day 1's Trigun Stampede panel! Now with images! (Sorry for Chilchuck's head in most of them. He's awfully tall for a half-foot.)

Trigun Stampede presented by Toho Animation, Studio Orange, and Crunchyroll

The guests for this panel were Yoshihiro Watanabe (producer at Orange) and Katsuhiro Takei (producer at Toho animation), with Steve Liu from Crunchyroll hosting. (They had a translator as well, but Watanabe promptly stole her job.)

One other thing I'm going to note before we get started is that this was Takei's first time talking about all this in front of an audience since Episode 12 aired. He kept looking out at the practically full auditorium (the panel was held in one of the ballrooms, so easily one of the biggest rooms at the venue) and seeing all the fans and cosplayers and just grinning from ear to ear. He was clearly very exited.

Introduction

They started off by playing a quick video recapping Season 1. (It really made me want to watch the show on a big screen. It looks great even on a projector!) After the video, Liu started in on the interview questions. Please don't take anything below as a direct quote unless it's in quotation marks; I'm not that fast with my notes, so I'm mostly paraphrasing and relying on my memory, either of which could include my own misinterpretation or just be flat-out wrong.

The first question was, how do you feel about the future of the series?

Watanabe said their passion (for creating more of the series) was burning within them.

Takei noted that when the show was initially announced at AX some years back, they were very nervous about it since they were remaking a well-known and well-loved title, but today, looking out at all the fans, he felt a lot more confident.

Behind the Scenes of Trigun Stampede

They then showed some concept art from the famed Trigun Bible. This included what Watanabe called "Vash's projection of Rem." Seems like they came up with this design before coming up with Vash's dark design.

They also shared some concept art of what most people assume to be spiky-haired Vash...

...but which Watanabe quickly noted is actually Vash in Episode 1. You know, when he's hanging upside-down. Takei added that Muto, the director, was a bit mischievous and had a tendency to lie to the staff about when certain designs would appear in the series. He apparently hid a handful of Easter eggs and foreshadowing (like Vash having spikier hair) throughout the series.

They also had some concept art of Knives and of Vash's wing.

They then showed some concept art for some friends all y'all might recognize if you read the manga....

...but in case you didn't, I'll identify the characters below:

Top Row: Vash the Stampede, Millions Knives, Meryl Stryfe, Roberto Deniro (the blank one), Legato Bluesummers

Bottom Row: Monev the Gale, Dominique the Cyclops, Leonof the Puppet-Master, E.G. the Mine, Nicholas the Punisher, Midvalley the Hornfreak, Hoppered the Gauntlet, Rai-Dei the Blade (his name doesn't actually look like Rai-Dei here, though, so they may be calling him something different or they may just be subbing in kanji; it's too small for me to tell), Grey the Ninelives, Livio the Double Fang, Zazie the Beast, Elendira the Crimsonnail

If you're sitting there thinking, "Aww, they came up with all these designs but we saw so few of them!" then I have news for you! Watanabe said we should be keeping an eye out for more of these folks in the next part.

Favorite Scenes

Next, Liu asked both of the guests about their favorite scenes, and before they got into talking about them, we were shown a video not just of the final scene, but the storyboard, the rough cut version, and the version used for dubbing, all on one screen.

Takei answered first, and he chose the scene from episode 1 where Vash goes up against Chuck Lee, a.k.a. the military policeman from July.

(The audience kept laughing at Vash's wonderfully goofy face in the storyboard.)

When asked why he loved that scene, Takei noted that everything they wanted to accomplish in Trigun Stampede was encapsulated in it. In the manga and '98, Vash is more funny and tough (although "a good-looking guy"), and here in Stampede, he's rather more wimpy (although "still a good-looking guy"). This scene is a good blend of both sides of Vash.

It also showcases a "good action scene," which he clarified by noting there aren't many anime where so much drama and emotion is centered around one bullet. Takei also noted (though it's hard to convey to you all via still images) that Muto trusted his animators to improve on the storyboards. He's not as strict as some other directors and didn't want them to feel confined to stick to it too closely, but rather wanted them to enhance what was storyboarded out as they felt was appropriate.

Which leads to Watanabe's choice for favorite scene: the one where Vash is running through his shattered memories toward Rem and finally breaks free of Knives' prison and yeets Knives himself out. (Alas, Watanabe did not, in fact, use the word "yeet.")

Watanabe said he chose this scene because he loved the details that the team added to it after the storyboarding. The storyboard just had Vash running, but they added all these subtle movements and emotion that created a much stronger impact. When the completed scene was presented in Studio Orange, all who saw it were in awe.

Upcoming Trigun Stampede Merch

First up, as many of you already know, we have the Special Edition DVD/Blu-Ray set, which is currently available via preorder on Crunchyroll.

Second up is a new Vash figure! So new they haven't finished coloring it yet, BUT they did note this will be Black Vash (a.k.a. Grape Juice Vash) from Ep. 12. Takei is particularly excited about this because he always wanted to get the Black Vash figure from back in the day, but wasn't able to, and now he's gonna be able to get his own Stampede version. This figure is actually designed by the same person who designed the Vash figures for the manga back in the day. Interestingly, after they picked him but before they met to collaborate on designs, he came up with the current design for the figure. This worked out exceedingly well, since the design Orange wanted for the figure was basically the same thing.

Also, this Vash figure will soon have a Wolfwood companion figure. Because you can't have just one of them. The Wolfwood figure is still being designed, so alas, no images of it yet.

There's also been a restock of the orders for the clothes collaboration they had with SuperGroupies before, so a bunch of that stuff will be available again soon. They're also adding a new item to the lineup, and that's a black version of the Vash jacket. (I checked their website and it looks like they might also be adding a Livio EoM jacket. Hot.)

Preview Stuff for the Next Season

Ok, first and foremost, I'm gonna note there was NO TRAILER SHOWN, so let's crush those hopes now lest they linger and lead to disappointment. What they DID show was this:

First, a preview image of the characters for the upcoming season....

TBH, the only difference I really noticed is Knives' hair seems fluffier, but new art is always nice! Also, this one looks like a win for foot, ankle, and/or hand fetishists.

Second, we got a lovely video thanks from Nightow himself!

(He said he wanted to be there, but unfortunately there wasn't a strong enough headwind for him to run to the con. And for the curious, he's wearing a Guillermo del Toro shirt.)

Nightow being a fan of Stampede and overjoyed that so many people love his story isn't new. (Wonderful, but not new.) What IS new is he drew this nice little piece of art for us all.

He said this was his first time drawing Stampede Wolfwood. He had to get them to send him 3D images of the Punisher to be able to get it right, but he enjoyed making it! He said "it felt old and new at the same time." He can't believe next year will be the series' 30th anniversary. (Congrats, OG fans. Now we can all feel old together.)

The third thing they released was this.

Given the amount of trouble I've had posting this, I'm sure plenty of you already know that the next season/final chapter is going to be called Trigun Stargaze. Liu asked Takei about this title, and Takei said something like, "I don't know what this is about. Trigun Stargaze? What's that? This is news to me." He then (after noting he had just been joking) launched into what little he could tell us about the upcoming season.

He said he can't talk about the reason for the specific title, but that manga readers can probably make some good guesses.

Trigun Stargaze will take place 2 1/2 years after Stampede. They want to keep in mind the original concept behind Stampede, that being that because the previous Trigun stories have been so amazing, what they create needs to be amazing, too. He said they're proud of what they've made so far. It went beyond your imagination. He hopes Stargaze will go beyond your imagination, too.

Cosplayer Highlight

They decided to call all the cosplayers up to the space in front of the stage next. There were SO MANY COSPLAYERS!! Foolishly, I didn't take a panorama.

Costumes included '98 and Stampede versions of Vash, Wolfwood, and Meryl, as well as a handful of Millys (Millies?), not one but TWO groups doing Barbie & Ken-styled Vash and Wolfwood (the Barbie Vashes shouted, "Hi, Barbie!" at each other when everyone went to sit back down), an old-school Legato, a Zazie, and a group fully cross-playing the characters (with Meryl and Milly being male while Vash and Wolfwood were female; they did NOT change the costumes for any of the characters).

Liu handed out prizes to a few of them (they didn't have nearly enough prizes for all of them), and then they had all the cosplayers bunch up and face the stage and the guests turn around and took a picture of everyone. (If anyone has a link to the picture anywhere, let me know and I'll add it here. No, you can't see me in it; I'm much too far over to the side.)

Guests' Closing Thoughts

They were actually running early on the panel, so Liu opened it up to any additional comments either of the guests would like to make.

Takei still seemed overwhelmed by all the cosplayers (like I said, he spent the whole panel grinning from ear to ear at the audience), and he noted he had been worried about the Stampede characters being accepted by the fans. This was his first time seeing all the cosplayers, and he said that made him "feel safe."

Watanabe said he loved looking at the "multiverse" of Trigun. It had these previous iterations, and now it has Stampede, and the fans have both adopted it and adapted it, blending the different versions together and even adding their own things, and he really appreciates that. Takei added that while they created Trigun Stampede, if in 50 or 100 years, a new Trigun series is made, that would be great.

The animation for Stargaze is in process. Watanabe said he just recently saw some of it (a clip of only a few seconds that he, of course, couldn't show us) and it blew him away.

Both Watanabe and Takei are fans of the manga and the original series, and Takei said he's really wanted this series to happen, so he hopes we all look forward to it, too.

[luminarytex]

rumbus grumbus | lowkey losing my hfx on them but i’m pushing through it bc im not ready yet

i can no longer push off this essay it’s due in 2 days :3!!!!

[notaplaceofhonour]

Miku Expo & Coachella 2024

[sillyhisui]

miku could bust through that giant led screen if she wanted to. shes just protecting us from a greater danger totally (coping)

[abakura]

Tv Miku coming to get you 📺🎵👻

My concert is yet to come and i will have a blast nonetheless, but geez, i really wanted the hologram.

[madame-helen]

[hidekken]

Miku Expo 2024

Source

[toonamisquad]

Fire Force Season 3 to premiere on April 2025, second cour in January 2026

Crunchyroll has revealed a new trailer, key visual, and release date for the third and final season of Fire Force by Atsushi Ohkubo, with the first half premiering in April 2025 and the second in January 2026.

Article on Toonami Squad:

[artemikumi]

💥

[darkhalo4321]

I'm not at all affected by the miku expo BS that's happening, but I saw this and I was like "this... this is a tumblr experience right here" and it wasn't on tumblr that I could see and it felt like a crime it wasn't. in case no one knows, the miku expo decided instead of their transparent panels that they normally use for their shows that allow for the hologram experience to feel more... yanno, like an immersive experience, they went with a giant LED TV that sticks out like a sore thumb and feels like an overpriced movie- most people are making the best of it, but it's kind of insane that they raised the ticket prices and then pulled out a giant tv. It's... not the concert a lot of people paid for.

[incorrecttowerofgodquotes]

Bruh, I really thought they would reveal the Tower of God S2 trailer during the Crunchyroll Anime Expo panel

[merp-blerp]

I was casually checking in on the Vocaloid fandom today and—

NO HOLOGRAM??? I feel so bad for everyone who paid. I'm not in the fandom too much anymore at the moment, but as someone who has been, I know the hologram is such a huge deal. One of the main draws to Miku Expo. I literally used to make homemade holograms with CD cases, shoeboxes, and those "hologram-ready" vids to give myself the experience. Good luck suing for false advertising guys!

[eclaire-went-bam]

i've always believed this, but this years miku expo?? VANCOUVER????? major reminder that capitalism is the bane of all art and creativity

the first ever magical mirai was wayyy better

the first miku expo's first show in indonesia was wayyyyyyyy better