#crunchyroll expo

[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!!!!

[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?

[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)

[madame-helen]

[twilight-low-low-163]

A little more from Crunchyroll Expo 2021 (also found on bilibili)

Full panel:

[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]

💥

[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!

[ersatz-introspective]

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

[zeeph-containment-zone]

I think the most metal ending to the miku expo debacle would be crypton future media themselves being the ones to open a lawsuit against crunchyroll for how they handled their mascot and tour.

Even if it ends up being fans who sue crunchyroll, I think the idea of Hatsune motherfucking Miku being the thing that finally managed to kill crunchyroll is poetic as hell.

[anothermonikan]

I really do hope that the concerts that have happened so far with LED screens are just because of technical flunks because it truly doesn't make. Any sense? At all? To sell tickets that expensive and then just. Have it be a video on a small screen. Miku expo has always been hologramed, it doesn't make sense from a business standpoint to change that?? Cruncyroll is a huge company?? With lots of money?? I brought refund protection for my tickets so if this goes on happening consistently I might just not go but I feel bad for people having to sell their tickets or go to a concert that looks bad or having spent so much money to then not go and all that because of this

[seo-m-e]

i hate crunchyroll i hate crunchyroll im going to kil crunchyroll i hate xrypton what the fuckk'kkk'kkkkkkkkkkkkkk

someone in my gov class just said they got VIP TICKETS THAT LET YOU MEET THE BAND for $120 😭😭😭😭😭 $120 im gonna die im gonna turn into salmon paste. and they were like "yeah its kind of a lot" too. im going to turn crunchyroll into salmon paste and eat it. not even on good bread or crackers i need to zxplode.

[sharkbisque]

So I went to Miku Expo in Chicago. Here are my thoughts about Miku Expo by Crunchyroll from start to finish..

September 2023

The process of buying the tickets was awful and they sold out and were up for resell in minutes. The scalpers were trying to sell tickets for like 800-900 dollars up until the day before the concert.

Early 2024

The online merch sale to get a lightstick was even faster than the ticket sales. I unfortunately couldn’t get a lightstick online and was hoping to get one at the venue.

May 13

Day before the concert, they note that the merch sale will not be outside but will be inside and people could start getting the merch at 6. Mind you they didn’t specify who, just generally everyone.

May 14

Day of the concert: I show up at 11am and there’s already about 35 people ahead of me. Also hoping to get a lightstick since each venue is only going to have 100.

At 6pm the venue staff come out and announce that only VIP ticket holders can come in to get merch. We told the venue that we were all told something different, they said the info we got was wrong and they are only allowing VIP. Needless to say, they only had enough lightsticks for VIP ticket holders. They also didn’t know there was other tiers of VIP holders and were only looking for one specific ones for a while before they just started letting people with floor or box seats through. Presale tickets meant nothing.

At 6:45, everyone else comes in and the merch table was very small and they were taking three people at a time. I was able to snag a shirt and a Meiko keychain.

I head to my seat, still upset about the lightstick, and wait for the concert to start.

The concert itself was fine, I wish it ran an extra 30 minutes. It was an hour and a half long. I won’t spoil any of the songs or anything.

Overall the vibes were okay but slightly weird and everyone was upset at the way the didn’t handle the merch or VIP

I think everything could have been handled better but I’m glad I got to see the show since it probably won’t happen again for a while.

I think we need to ask for a Nico Nico Cho Party world tour

Anyways here’s a photo of Meiko. An underrated queen