Itaru Hinoue is lead character designer and one of the founding members of Key Visual Arts, one of the most influential visual novel studios in Japan. Her moe character style has helped define entire genres of visual novels and anime, from titles starting with Kanon and continuing into Air and Clannad. Inoue also contributed to the scenario of Key’s latest visual novel, Rewrite, and has also done other artwork as collected in her art book White Clover.
This interview was conducted by Lily Huang and Michael Huang. It has been edited for clarity and conciseness.
[Michael] When you started designing characters for Key, did you imagine that it would inspire an entire approach to doing this “moe” style?
I didn’t expect it at all!
[Michael] What were you trying to capture in designing characters that way, especially girl characters?
My characters have to be cute–that’s what I was going for.
After you did Kanon and Air, which were very popular games, was there a lot of pressure to meet fans’ expectations between Kanon, Air, and Clannad?
I did feel pressure to make it a better creation, to draw it better, to make better illustrations for each project I had.
I ask because Kanon and Air were only one year apart, but there was a 4 year gap between Air and Clannad.
Overall we wanted to do better because Air sold so well. We ended up taking four years because we wanted to go above and beyond.
Between Clannad and Little Busters, you worked on BL games. Do you think boys can be moe?
(Laughs) You must be really into it! I like making very handsome people…because I had been drawing girls, I wanted to draw some guys. With my style of moe, I can draw them…I like the smaller boys so I can apply it the way I like.
When I came across your BL work in White Clover I was surprised. It’s so different from what you’ve done before.
After Clannad I was trying to figure out what to do next, and I wanted to draw boys. I gathered some girls and did some [focus] testing to see what kind of drawings worked, and ended up making it at the company. That’s how it started off.
[Michael] What does moe mean to you, personally?
It means kawaii (cute).
[Michael] What do you hope the audience feels when they see one of your characters?
That’s a hard question! I want them to think–“my wife.” I want them to love them that much. I want them cute enough to say “they ARE my wife.”
What are your favorite character types to create–tsundere, megane, eyepatch, cool, etc.?
Ryukishi07 of 07th Expansion is a pioneer in the visual novel scene. Best known as the original creator of Higurashi no Naku Koro ni and Umineko no Naku Koro ni, he has been plumbing the depths of suspense, horror, and mystery for many years. Recently, in a change of genre, he wrote Lucia’s route in Key Visual Arts’ most recent visual novel, Rewrite (whose head writer was Aura and Humanity Has Declined’s Romeo Tanaka).
This interview was conducted by Lily Huang, and comes courtesy of MangaGamer. It has been edited for clarity and concision.
Why do your stories revolve around the tension between natural or supernatural explanations for phenomenon? (For instance, the curse of Oyashiro-sama in Higurashi, the Red or Blue Truth in Umineko, and Lucia’s route in Rewrite.)
I like to leave it up to the audience to figure it out on their own.
Do what audiences come up with ever contradict what you imagined?
Yes, there are times when I present something, but readers take it a different way. It happens a lot. In the case of Higurashi, it took four years to make, and the readers had a lot of opinions and feedback, and I would take that and incorporate it into the next work. It’s like catching and passing a ball back and forth, an ongoing process.
You worked on Rewrite’s Lucia route, which was a collaboration with many other people. Was it harder to write it without any feedback from fans?
In the case of Higurashi and Umineko, it was my own work so I could do whatever I wanted. In Rewrite, it was Key Visual Arts’ work so I had to respect that, and it made me really nervous to write in a very different style and thought process.
When you did the Lucia route, did you have to write more “business” type than “passion” type than you usually do? How did it make your work with Key more or less difficult?
For me, when I could write anything I wanted, it was harder to come up with things. With Rewrite, there’s already a world and setting set up for me, as well as a character. It’s actually easier to write and expand that world. It was fun.
Did you write the route knowing the ending ahead of time, or not?
Rewrite itself is by Romeo Tanaka, and I couldn’t change that–there was already an initial setting for Lucia. But the direction of the story was up to me, as long as it was possible in that world. The ending was mine.
Overall what was your experience like as a collaborator? What did you like and what would you change?
Before Rewrite, I only wrote mystery, murders, suspense…it was the first time I wrote a love story. I found a lot of new things about my writing style. It was a good experience.
We know you as a creator who works very closely with fans–Umineko and Higurashi had changes after fan feedback. How has your interaction with fans changed since then?
When I wrote Higurashi and Umineko, I was still young and energetic, so I could go all the way. Now I’m getting kind of old and want to settle down, and find a new way of writing to fit my current stamina.
What is it like working with fan translation groups like Witch Hunt vs official companies like MangaGamer?
I’m always surprised because my games are so long, and there’s so much text, it’s surprising someone can translate all that work. They must have so much passion over the story.
What is like working with MangaGamer?
I’m very happy that we released new artwork for Higurashi and putting things on Steam. I’m happy to see new fans try things out that way.
What are your thoughts of the future of the doujin and visual novel market in Japan vs America? Do you see fan involvement being more important in the future?
Today’s visual novels are released by commercial companies; they are such high quality, they’re almost like [professional] anime. But people like fans that are making their own sound novels for the first time, they’re unable to get to that level at the start. I’m a little worried about them. But it’s OK that there can be two separate worlds of visual novels–very high quality commercial novels as well as old-fashioned pictures and music sound novels.
Yoshiki, joined by fellow X Japan band members Pata (guitar) and Heath (bass), gave a press conference at Otakon 2014. This is the transcription of that event, edited for clarity. (Yoshiki spoke in English throughout so it is not filtered by translation.) Our photographer Shizuka was on hand to take pictures and to ask a question as well.
Will another world tour be able to follow [the MSG show] within the next year or sometime in the foreseeable future?
Yoshiki: Yes, we are actually going to be announcing some future shows at MSG, but right this moment, we just concentrating on MSG. MSG, MSG, MSG. (laughter)
Are these shows to promote your album, or are these just great opportunities for X Japan?
Yoshiki: Well, we haven’t released an album in a long time, though we released a compilation CD just a few months ago. About 22 years ago, we had a press conference in New York at Rockefeller Center when we signed with Atlantic Records. That was supposed to be a big deal, we were then supposed to release an album, but a lot of things happened. So, 22 years later, we come back to New York and are playing a show. I can’t really tell you why we’re doing this MSG show, but you are going to know soon. There is something going on. Yes.
Yoshiki, you’ve been involved with charity projects, such as the Red Cross for tsunami relief. Can you tell us a little about what you’ve taken away from those experiences and whether you have any projects like that planned for the future?
When I was 10 years old, I lost my father to suicide. So I had a pretty depressed childhood. So I kind of understand the pain children have, so several years ago I decided to create my own charitable foundation. I try to support children who have that kind of pain….Unfortunately right after I established my foundation, there was the big earthquake that happened in Japan. At that moment I concentrated and focused on that, to support victims of the earthquake and tsunami. When you save people, I also feel saved for some reason. It’s like I want to keep doing this for the rest of my life, just at my own pace.
Yoshiki, you’ve been touring Yoshiki Classical…I was wondering how preparing for that differs from preparing for X Japan.
Pata: Maybe the same thing. I just play guitar. (laughter)
Yoshiki: X Japan is pretty much my life. Everything else is like a side project. Even on my classical tour, when I went to many countries and places, I said, “X Japan is my life.” It’s not like we’ve been doing different projects and coming back to this…it’s not like we just got back together and played….[X Japan] just runs in my blood. X Japan is more than a project. It’s our lives.
How did you first find out about Otakon, and what made you come back again? Also, what are your thoughts about Baltimore as a city?
Yoshiki: because you guys are so cool! (Laughter) Yes, I cam here for the first time in, what, 2008? 2007? 2006. Wow, that’s like 8 years ago! So that means Otakon was my first convention experience. At that time, I wasn’t even doing X Japan and I wasn’t even talking to Toshi. Since then a lot of things have happened. We didn’t know we had that many fans in America, or even outside of Japan, so we started finding out that whoa, people throughout the world have started listening to our music. It was so cool surrounded by these people.
This is our third time in America though, in 2010 we played at Lollapalooza. So 2006, 2010, 2014…I’m going to be here in 2018 then. (Laughter) Every four years, like the Olympics.
All your friends call you a “vampire” and that you should play Lestat in a movie. When are you going to do a vampire-themed rock opera?
Huh, good idea. I think I have a split personality about some things. Sometimes I’m called a vampire, sometimes I’m Yoshiki, sometimes I’m a character called Blood Red Dragon, created by Stan Lee…. Wherever I am, struggling during the Yoshiki Classical World Tour over 10 countries, I always stayed up nights. It’s something vampirish…I’m only half joking, half serious. Sometimes I say I’m half Japanese, half vampire, something like that. I just love the image of the vampire, you know. So yeah…it’s a good idea to create a vampire rock opera. That’d be cool.
(Our question.) You’re not just a musical icon but also a fashion leader. How do music and fashion relate for you?
Before my father died, he used to own a kimono shop, a Japanese traditional clothing shop. I grew up in that kind of environment, so I was always surrounded by kimonos. When we started X Japan, we put on a lot of interesting clothes and makeup, and dyed our hair red and purple. So fashion and music are inseparable, at least to us. Fashion is music, music is fashion, so it’s very natural to have both. Everything came very naturally.
You’ve been involved in a lot of different collaborations–credit cards, wines, just to name a few. What other products would like you to release in the future?
I would like to do something more musical as well. Actually there are a few more projects coming that are very musical. My main focus is music. Everything else is like a hobby. I’m planning several more press conferences, so I can’t talk about it yet…
(To Heath) We saw a video once in the past. It was Phantom of the Opera styled, you were in a cage coming down, you had people doing robot dances around you, and there was an incredible bass solo…will you ever do something similar to that again, especially in a venue like MSG?
Heath: I think that rock needs something very shocking, both visually and musically…that is rock, that is X Japan. MSG has shock to it that is not like something before, so I’d like to do a new kind of shock there. In the near future, please look forward to it.
Have any of you have had memorable experiences interacting with your fans?
Yoshiki: We’ve been around for a long time, and we’ve seen a lot of bands come and go. When you are on top of the world, sometimes you don’t realize–some bands think they are the best, but, we exist because of fans. There are no bad fans or good fans, we really care about all of them…because there were fans, X Japan reunited. Without fans, we couldn’t have reunited after all those tragedies happened to our band. We actually thank every single fan. Of course, sometimes we bump into some crazy fans too, but yes…
Some of the songs on Yoshiki Classical were previously released and performed with vocals. (For example, “Amethyst” was originally written for Violet UK.) How are you able to convey the messages of the original vocal version of the songs in the instrumental version?
“Amethyst” was classical from the get go, so I didn’t write lyrics first…I wrote the lyrics later. What happened was, we had an incident at a Tokyo amusement park–an X Japan event. At that particular attraction, my classical music was playing. One of the old members, Hide, said, “What is this song? This is one of my old compositions. We should use this at the Tokyo Dome for X Japan’s opening.” Like, really? I didn’t even think about that. Then, that was the the beginning of using “Amethyst” at the Tokyo Dome X Japan show.
As long as there is a great melody, we can put some nice lyrics on top of it. X Japan songs can be instrumentals, with or without lyrics. I think about melody first.
Bamboo is really, really intelligent. There’s a thoughtful demeanor about him that conjures some mystery. He spent practically the entire time listening to my colleague Mori, rarely speaking unless a question was posed towards him. He was perfunctory.
That’s not to say he was a bad butler. In fact, just the opposite. He immediately sensed Mori’s gregarious nature and proceeded accordingly, serving the role of an engaged audience making succinct comments when suitable.
All proceeds from the Katsucon Cherry Tea Maid Cafe go to Relay For Life and the American Cancer Society. Even if it did not, I was perplexed by Mori’s reluctance to pay $1 per game. The maid cafe is the place where one visits to indulge. It’s silly to have money as an objection.
I played four games of Connect Four with Bamboo thanks to the generous funding from Mori.* Bamboo showed no pretense of letting me win. He won twice and we stalemated once. That was the highlight for me. The one raffle ticket from my sole win was just an added bonus.
The food proved better in appearance than taste but that’s never the focus at the maid cafe. The exorbitant prices mean the charity of choice benefit handsomely.
Katsucon changed venue from the bar restaurant upstairs to the Pienza located in the atrium of the Gaylord. The notable change in lighting may hold the most impact. Warmer and darker, it provided a more intimate ambience compared to the upbeat brightness of last year.
Unfortunately, the space seems to have shrunk. Located in the rear section of Pienza, it comprises roughly a quarter of all available tables. No doubt the parent establishment wanted to ensure it will not have to turn away regular customers. The section occupied by the Maid Cafe is fairly well hidden. Shrubbery blocks sight of the busy walkway infront while architecture elements does same from the rest of the venue.
The Katsucon Maid Cafe continues to exercise good judgement in requiring an advanced reservation. This allows the maid or butler to provide undivided service to the patron. It’s magical to have your very own servant all to yourself for an hour. And I am grateful that they honored our reservation, even when we were fifteen minutes late. That said, I was disappointed that we were not offered a choice of servant like last year. I really preferred a maid. Bamboo is still great though!
It’s a shame I only visited on Friday. Katsucon Cherry Tea Maid Cafe remains a mandatory stop for any attendee.
Lolita Dark gave a tight performance to an unimpressed audience Saturday night at Katsucon.
Guitar work was solid and unremarkable. Vocals were indistinct, taking on an almost shoegazer-like quality. The bass and drums worked together well on some of their older songs, interweaving their notes to create a driving beat. The meter of songs was instantly recognizable, even classic, though the chord progressions were anything but. In many ways, that exemplified Lolita Dark – a technologically and culturally hip reworking of a rock formula as old as the Rolling Stones.
Media-savvy and brisk-paced, the band paused for the briefest of explanations of their songs and reminders to like their Facebook page or visit their website before launching into more. Lead singer Ray’s harmonies were operatic, even shrill at times. Where her gestures were sharp, imperative, forceful, keyboardist May’s movements were bubbly and effusive. Bassist Rain played his part to the hilt, contributing no vocals but strutting along the stage. Drummer Joey and rhythm guitarist Patrick, while technically flawless, were also flavorless.
In many bands, the effect would seem overly prissy, even sophomoric, but Lolita Dark delivered the occasional apology without giving away their hard-edged passion. Alas, the audience’s lack of familiarity worked against the band. Though visually flawless, bearing costumes inspired by cyberpunk and – what else – gothic Lolita, Lolita Dark struggled to engage the con-weary audience. Cosplayers leaned on props, texting, and only seemed to muster up the energy to engage in fist-pumping or baton-waving when prodded by the band, or for the final song, a cover of Rage Against the Machine’s ‘Killing in the Name.’ When the set was over, over 80% of the fans filed out, not even waiting for an encore.
Lolita Dark has the potential, and they are developing the connections. They lack only the audience. Time will tell if there is truly support for US-based J-rock.
The top buttons of Mr. Stanley’s crisp white shirt were undone. His suspenders framed the stylish sight with titillating precision. Picture such a deliciously dressed butler delivering the above phrase in a thick, obedient voice and with his enchanting eyes slightly downcast. In that instant, I transformed into Ciel with my very own Sebastian!
We were discussing dinner and I debated sharing my food. The Club Ikemen Paradise, like My Cup of Tea, forbids staff from eating food on the clock. However, there is no denying the wishes of a Master.
My butler restrained himself to one piece of sushi. He exercised far more liberty in a lively conversation. I can’t explain how it happened. We chatted the time away like old friends running into each other. We covered Watamote, competition between Host Club and Maid Cafe, eating habits as it pertains to condiments, wardrobe choices in conveying one’s confidence, his three week long busted lip*, the circular logic of bad pirates** and Pantheon.
I believe we spent close to an hour on Pantheon alone. He’s Mr. Stanley’s favorite champion from League of Legends. Another butler stopped by and they launched into the mechanics and tactics of gameplay in exceedingly high detail. It was absolutely adorable and enlighteningly entertaining listening to my butler excitedly explain the specific steps to counter Darius.
It’s fascinating to note that the usual awkwardness of eating alone while another watches doesn’t materialize here. A servant naturally does not dine with his Master, after all. It speaks volumes of the efforts the hosts summon to bring the magic to life.
And there’s plenty of magic. The night crowd proved more rowdy than their morning counterparts and the hosts were ready to meet the challenge. A large table next to us had a grand time ordering hosts to perform certain acts. They started with purposely dropping items and enjoying the view. It quickly escalated to hosts passing flowers among themselves. Using their teeth. If that wasn’t enough, you also know it’s a party when DJ SiSen reserved his own table.
Assistance from the hotel restaurant’s wait staff in handling service and checks provided a vast improvement from last year. As noted by my butler, it allowed each host to spend more time with the patrons which directly and significantly adds to the experience. Undivided intimate interaction allow hosts to blur reality with fantasy. One truly feels like a Master.
I have one single complaint. Mr. Stanley had wanted to show me a card trick but there were no playing cards on hand.
Friday night was slow so I was able to overstay the hour mark. I wanted to stay forever, no longer caring about the Formal Ball or any of the other panels I had scheduled. I was in paradise. Of the Club Ikemen variety. And I didn’t even play any games, having run out of cash at the Maid Cafe earlier. Even if I had stayed an hour or ten more, it would still have felt far too short. Time flies with Mr. Stanley at your service.
* An avid airsoft gun enthusist who sports a suit in action complete with shoes, Mr. Stanley once turned a corner and got shot right in the lip. My poor butler :/
** Shizuka cosplayed Bodacious Pirates. She was getting tipsy from just a handful of sips from her martini which makes her a bad pirate. Mr. Stanely remarked as much then we realized that pirates are supposed to be bad. Yea.
With the Maid Cafe. And with my maid. You will fall in love too.
My Cup of Tea was the ichiban event I looked forward to at Anime USA since my magical visit last year. Like last time, I declined to choose my maid. There’s something about picking a person like a chattel that disagrees with me. It’s ironic really because I am completely enamored of the fantasy of My Cup of Tea. I take advantage of my hour as Master to its fullest. It’s just the one initial hurdle that irks me.
With the memory of yesteryear fresh, I was disappointed that my maid did not offer to take my bag. Can you tell I was spoiled? Then I realized that Shiori is love personified.
I could spend a lifetime attempting to capture the euphoria of having a maid address me as Goushiji-sama and probably fail. To attempt the same for my very own Shiori is certain failure. It’s simply something one has to experience. I can only say that each time her lips uttered that one word, my heart would skip a beat or ten because she wields the sole arrow to my heart. All the maids at My Cup of Tea are talented in her own special way, but…
Shiori plays the violin.
For those who are unaware, I don’t live for music. I breathe it. And violin was the one instrument I played before I realized I had the talent of a brick*. It took every atom of my willpower not to leap over the table and crush her in a hug. I didn’t even get to fall in love. I drowned instantly. Watch the video at your own peril.
The love continued. Shiori made her way around the cafe, proffering her lovely services and seducing everyone at each table that she stopped at. While I can imagine the courage it takes to do that, I do not want to. She wasn’t familiar with the “Moonlight Sonata” that I requested and inquired how it goes. I could only offer that it was three beats to a measure.
Did you see what she did there? Reminds me of my middle school violin teacher who penned “Happy Birthday” on the spot by humming it so that I could play it from the sheet. I must admit some jealousy. I would kill to be able to play something simply by hearing it.
Not skipping a note, Shiori immediately improvised with another piece that I regret not recording. Not that I could given that the only muscle capable of moving at the point was the thumping of my stolen heart.
The rehearsed turn of her wrist on each stroke and the rich agility of her fingers would’ve fooled anyone except I could sense a slight tremble behind the beautiful smile. Her display of courage only endeared me further. I won’t even bother depicting the sound because to call it love would still be a gross understatement.
The love deepened. She solicited for another request and we were at a loss when she revealed that she could play any Disney song. Mere notes into “A Whole New World”, time stopped. The clatter of the cafe faded. For those achingly precious few minutes, as I sat a kiss away, the only thing that existed in the universe was…
Upon reflection, part of my reluctance to choose a maid may stem from my wanting to be a kind Master. I don’t want her to be my maid by force. I would rather she serve of her volition. It’s in this vein that I wish maids may dine with patrons should they choose to (or ordered to). I will gladly pay for it. It will also be really, really awesome to have Maid Cafe run all three days.
I need to say something negative. Er, let me think. My colleague Shizuka thought the food was mediocre before quickly adding that no one visits for the food. Um, Shiori’s hair is too perfect. Well, that applies to all the maids! Uh, she didn’t tell me they had Battleship to play -_-
Actually, the same complaint applies from last year. A wall separates the performance place from the vast majority of the cafe which means most patrons are late to notice when dance breaks out. The logistics of the venue make this unlikely to change however. It’s ok. I will just order my maid to inform me of performances beforehand next year!
Speaking of which, why isn’t it next year yet???!!!
*Albert (I like to pretend I know Einstein personally) is my second idol and I wanted to imitate him by learning to play the violin then dropping it to become a nuclear physicist and change history. Instead, all I got to be was a Master. Which is better^^ Oooohh My Cup of Tea, how I heart thee~
Prominent J-Rock band Porno Graffitti performed their many anime songs and others live at Anime Expo 2013 this year. Both Monsieur LaMoe and Shizuka were on hand to cover it, with Shizuka taking photos along the way. These are their joint impressions of the show.
LaMoe: So when the concert started–yes, that’s right, I’ve heard this song before, their debut piece, “Apollo.” That completely blew me away. I heard this song more than a decade ago, but it still sounds so vivid and fresh! It made me nostalgic, that speedy and powerful that I still remember so well. It’s amazing how Akihito projects his voice! I’d never heard him sing live until now, and it was incredible. He’s close to 40 years old, but still jumping and running around during the entire show. Such admirable stamina! Listening to the live performance is so much better than listening via iTunes with earbuds on.
Later they played “Saudade,” which is a song that has a Latin feel to it. The word “saudade” is the fundamental feeling behind bossa nova music, the music pioneered by Antonio Carlos Jobim. But “Saudade” did not sound like bossa nova at all, but more like Santana-like Latin music with a very J-pop sound. They told us during their press conference that the word fit their song, so the mood was still recognizable.
And then there were the recognizable anime songs, especially from Great Teacher Onizuka and Bleach, that made the crowd go wild. Yes, when I first heard “Hitori no Yoru” (the GTO opening song), instead of “Lonely, lonely,” I heard, “loli, loli.” So, I thought it was about a lolicon song, just like The Police’s “Don’t Stand So Close to Me.” Yup, Mr. Onizuka is a lolicon! “Loli loli, I want to see you~♪” Darn! But turned out that was only my soramimi (“mishearing” literally “empty ears (空耳)”). But seeing the crowd dancing to a lolicon song would’ve been so hilarious.
And that Fullmetal Alchemist opening, “Melissa,” oh, such nostalgia. Yup, this anime was from a decade ago! Reminds me… Ah, so good. Yeah, listening to the anime songs live felt so great after all.
Shizuka: Porno Graffitti delivered an incredible performance for their fans, keeping the energy high within the crowd, as they got the audience to sing along in “Century Lovers” and swing towels (which had been thrown into to the crowd) like cowboys swinging lassos during “Mugen.” But I wasn’t just impressed by Porno Graffitti’s ability to keep the crowd excited – I was equally impressed by their dedication to the music, as the lead singer of Porno Graffitti took out and played a real harmonica during “Winding Road!”
And then, “Melissa” played. My (and probably most fans’) most anticipated song, it was so much better performed live that all I could do was bask in the music. The audience’s response to this song after it was over was so strong that Porno Graffitti played this as their last song in an unexpected triple encore!
It was a give and take relationship between Porno Graffitti and the audience. With Porno Graffitti giving such an energizing performance, the audience gave an incredible show of support through their towel-swinging, “porno-porno” cheering, and frenzied hand-waving back to Porno Graffitti. I’m sure they weren’t ready for rabid American fans, as Porno Graffitti had to tell the audience to quiet down so their voices could be heard at the end of the concert… so they could announce that they would be back!
LaMoe: Between the encores everyone was screaming, “Porno, porno, porno!” That sounded really weird, but refreshing. It’s something just lost in translation in Japanese. The word porneia (πορνεία) originally meant “fornication” or “sexual immorality” in Greek. Yes, as a rock band, that’s the name it should be. The term”rock’n roll” also meant “fornication.” So, it’s a music for fornication. They provide the kind of music that gets everyone horny. Yes, sexual burst, an outlet for the daily repression of capitalism!
Apollo (Debut song)
Koyoi, Tsuki ga Miezutomo (Bleach 3rd movie ending song)
Matataku Hoshi no Shita de (Magi 2nd opening song)
Hitori no Yoru (Great Teacher Onizuka 2nd opening song)
Anime Diet was privileged to attend and take photos of J-rock band Porno Graffitti at this year’s Anime Expo! Pornograffitti is best known for anime OPs and EDs for Great Teacher Onizuka, Fullmetal Alchemist, Bleach, and most recently Magi. They named themselves after the album by Extreme (see their remarks in our liveblog of their press conference about that and more), and currently consists of Akihito Okano on vocals and guitar, and Haruichi Shindo on background vocal and guitar.
Here we present to you our best photos of the concert, taken by Shizuka. Our full review of the concert, as well as a full translated transcript of the press conference, is coming very soon as well! Stay tuned.
Maid Cafe returns for its sophomore year at Otakon. In hindsight, my lack of excitement beforehand foreshadows my conclusions. I feel bad because in some respects, it isn’t exactly fair to make comparisons. After all, Zagat rates restaurants on individual merit and this should be no different. That said, my lukewarm feelings toward Otakon’s Maid Cafe stems from an inherent expectation that I felt went unmet.
The main selling point of a maid cafe lies in creating an illusion of a Master/maid relationship. Otakon fails to deliver this essential on multiple fronts. For one, patrons do not have the pleasure of choosing his/her maid. For another, they are seated together with strangers with eight to a table. The magical illusion cannot materialize without the possibility of an intimate rapport between patron and maid. It also creates a possible, albeit tiny, conflict when choosing a game to play. In short, Otakon’s Maid Cafe is merely a glorified café where wait staff cosplay as maid or butler.
Speaking of which, the service left more to be desired. I didn’t time the duration but for someone who didn’t even order anything, it felt long from the time of order to receipt of one’s drink.
The Maid Cafe suffers from a limited menu. While located in the Hilton, the space is not adjacent to a kitchen. This meant food choices were only of the dessert variety which is clearly publicized beforehand. It’s just that I am sure there are others like me who enjoy having a full meal at a maid cafe and are disappointed that cannot be part of their Otakon experience.
A larger venue could help bring the experience to more Otakon members. The ability to sit more people per session should translate into shorter lines (assuming demand remains flat). Because despite all of its faults, there is plenty to love about Otakon’s Maid Cafe.
The maids and butlers are charmingly cute! This is true in both appearances and personality as demonstrated throughout and at the beginning of each session where they introduce themselves. The contagious cuteness doesn’t stop there. The decadent desserts look so absolutely adorable that one might feel a sad sting in devouring them. Also goth maid<3
Hours of operations is an immense improvement from last year. Not only are there more sessions per day, the Maid Cafe is open on Sunday as well. This, to my knowledge, puts Otakon as the sole convention to achieve this feat that I am confident others will likely emulate.
Shizuka and I didn’t know what to expect when we opted for the surprise session. Turns out it was a birthday song to celebrate Crabby-chan’s 20th complete with cake and candle. Otherwise, patrons are treated to one delightful performance of song and dance.
Including a raffle ticket with the price of admission sets a festitive mood. Prizes range from the appropriately maid headpiece to decorative ornaments. While holding little intrinsic value, they certainly provide a priceless keepsake for three lucky patrons.
Those not as fortuitous will still leave with a framed photo of the lovely maids/butlers that is given to everyone. Patrons will treasure this special souvenir because each maid and butler take turns among all the tables to personally autograph the frame.
Those specifically hoping to magically transform into a Master/Mistress with a maid or butler will find Otakon’s Maid Cafe disappointing. For everyone else, it is a sweet time of fun and games sure to rot your teeth away! See more pictures here.
Anime Diet was privileged to interview singer/songwriter Chiaki Ishikawa at Otakon 2013. Perhaps best known for the OP of Bokurano, “Uninstall,” which she also performed in concert at the convention, Ishikawa has written many anime songs in the course of her career: first with the band See Saw (where Yuki Kajiura was her partner), and later solo. Her most recent work is with the mecha anime Majestic Prince.
The Paper conducted the interview, with Shizuka taking a few pictures. Questions were written by gendomike and The Paper. Translation by Rome.
What music are you listening to right now?
People ask me that a lot. I don’t have anyone in particular–for a US musician, maybe Eddie Vedder, but right now I listen to a lot of samples of new artists that sing anime songs.
How would you compare Anime Expo 2007 vs this year’s Otakon?
Well, Los Angeles had a lot of cosplayers and the hotels were a mess.* Otakon is more otaku oriented.
How was working with young Yuki Kajiura? Did you think she would be as big as she became?
The first time we met? Did I think back then that Kajiura would be this huge? Well, we got successful by doing anime songs. By the standards of the mainstream J-pop industry, we weren’t good at all. The current singers who are around Kajirua practice singing with her because Kajiura is so big, but I’d thought Kajiura was great since I started singing with her. I mean, I simply loved her songs. It’s not surprising to me at all that she’s become so famous. I thought she would from the start.
Do you plan to work with Kajiura again?
Well, we don’t have the opportunity. We never have time to get together and do songs.
Was your musical approach influenced by Kajiura apart from See Saw?
Well, I’d say we both influenced each other. She composed songs based on things I sang too. We were working really hard when we were together.
How do you write lyrics without music for anime?
I think it’s based on the flow of the anime. First you have the anime itself: you have the director’s opinion, and a good-enough scenario…so then I get the synopsis. And I write song based on the synopsis. And while there are people who write music first and then the lyrics, I write lyrics first and then the music. But since I don’t know how the ending is going to be, I imagine the plot myself and then write lyrics. By keeping a certain good artistic distance from the production, I can create a good song.
Your songs tend to sound melancholy, often written in minor keys. Why?
Since I wrote “Uninstall” for the anime Bokurano, where 15 kids die, that image has stuck to me…after that, people only bring me those sad animes where some character always dies, and nobody brings moe anime to me to write songs. So, once it’s known that I am doing the ending song, people say that means the anime is going in a depressing direction. (Laughs)
*This was in reference to reports that at Anime Expo 2007, guest of honor hotel rooms were sometimes not prepared when the guests arrived from Japan. Haruko Momoi in particular complained publicly about it and other problems, spawning controversy.