All posts by Shizuka

Photographer, cosplayer, and secret Japanese culture fanatic. Shizuka does too many things. Follow her on Twitter at @Sh1zuka

Interview: Kenji Nagasaki and Wakana Okamura of “My Hero Academia”

Kenji Nagasaki and Wakana Okamura
Kenji Nagasaki and Wakana Okamura

Anime Diet had the privilege of interviewing the director and producer of the current anime version of My Hero Academia, Kenji Nagasaki and Wakana Okamura, at Anime Expo 2016. This was an extensive discussion of the inspirations and process behind the creation of the hit show.

Jeremy Booth conducted the interview. This interview was translated by Nami Kodama, and was edited for clarity and concision by Michael Huang. Photos and video subtitles by Lily Huang.

How did you get your start in the anime business and what is your most memorable moment as an aspiring young worker in the anime field?

Nagasaki:When I first saw the movie “Castle in the Sky (Tenkū no Shiro Rapyuta) ” by Studio Ghibli, I hadn’t watched an anime until then. The film inspired me very much and showed me the possibilities for artistic expression in anime, and led me to join the industry. I started by working for “MADHOUSE Inc” [even though] it didn’t make that film!

Do you have any other influencer besides Hayao Miyazaki that you would like to tell about?

Nagasaki:Another director I was inspired and influenced by is Kon Satoshi, who was at Madhouse at the time. When I first saw Perfect Blue I thought that he told the story almost like a live action film. But, at the same time, the anime actually does add extra expression than live action, so I really enjoyed working on that at Madhouse.

When you were a child, did you ever dream about a superhero? If so who?

Nagasaki: I grew up with reading “Dragonball”. So, every week when “Shonen Jump” came out, I rushed to a store to buy it. Goku was my hero. Everybody liked Goku at the time.

Okamura: Usagi-chan, the main character of Sailor Moon, was my hero. Generally speaking back then, boys liked , and girls liked Sailor Moon. We (girls including myself) used to play with popular toys like stickers.

What was the most challenging part of adapting this anime from the manga?

Nagasaki: The original story is very passionate. So, we really paid close attention to capturing the original story’s worldview, using sound and music [as well as drawing]. This is probably the most difficult part of interpreting from the manga to the anime. I worked hard on it from start to finish.

Okamura: The main focus was trying to keep the fans happy, because they have strong followings. So, that was probably the most challenging part, by using art and music (as the director just mentioned) attractive as anime. Bringing that special essence into the anime was challenging.
But also, at the same time, we wanted to reach beyond the fan base and gain more fans to make them happy. That was probably [another] challenging part.

How closely did Kohei Horikoshi, the manga creator, work with the project?

Nagasaki: Basically he left us in charge of that. He extended help where we needed some extra background/setting art and/or specific characters that we asked him to help us on.

Okamura: Horikoshi was very excited about the anime and was supportive. One of the reasons why he did was that Nagasaki was director and that it was being done by Studio Bones. So, he was very excited and often tweeted about special episodes and more about the anime; he was personally and emotionally involved.

There is a clear message of never giving up in My Hero Academia. However, is there any else that you hope fans take away from the show?

Nagasaki: The story is not only about how Deku tries to “not give up”. Through the relationship between All-Might and Deku, I hope that the fans would get the sense that though Deku did not have any powers, he became responsible while growing up. I want fans to see that Deku works hard toward his goals and be encouraged by his example.

Okamura: Nagasaki’s eyes were glued on Deku’s growth.

Was All-Might’s character based on any other real person or American superhero already in existence?

Nagasaki: Probably only the original author knows.

Okamura: Horikoshi is really a big fan of American animation. He often refers to the American animation in his drawing, so he took some of the essence of American animation to create All-Might.

If you were able to have a Quirk, what would it be?

Nagasaki: I’d like to fly.

Okamura: If I were to have a power like Toru Hagakure’s, I would like to sneak into the studio to make sure if the director is working! (laughs)

Who would you like to see All Might face off in a fight?
Nagasaki: The Hulk. I would think (hope) that All Might probably wins.
Okamura: I would like to see that All Might involved in something like the Marvel Civil War.

Do you have any routines in your creative process/good-luck habits? Could you share any stories, if any?

Nagasaki: In the process, when I read scripts I am always consciously thinking about music, about where would I put certain types of music in to fit the scene–and how much and how long to make the anime sharper. This is what I am always thinking about.

Okamura: Each director has own way to create a work. Nagasaki is probably the best director, among the ones I know, who consciously thinks about music. He always has his vision from the beginning.

As a producer, when I look at the story I decide which stories are well-suited when turning into the anime. As a process I always look at the attractiveness of the character. The most important thing I care about is that the anime can be better than the original manga. This is the essential process that I am always thinking about….I never want to let the audience down by giving them that negative impression: “the manga was so much better, the anime was really boring.” It’s not always the case that the same style from the original manga can work well in an anime. Anime and manga each have their own best way to depict stories.

How did you become aware of My Hero Academia when you decided that I really wanted to do this?

Okamura: When I first saw the first chapter (I didn’t even know how the story was going to turn out), I was instinctively sure that this could be a great anime. The first chapter was enough to feel that way, because that chapter told me that the story was great. Deku met All Might and then the story began to illustrate how Deku works hard to achieve his goals. That first chapter touched me, and I felt that the story had a very strong emotional power and would impress not only children but also adults. The story further introduced many characters who support Deku.

As I said earlier, the attractiveness of characters is very important for me. That was the my decision making point.

Could you tell me about the process how you became involved in the production?

Nagasaki: A producer from Studio Bones told me to work with this anime, and then when I read the original manga I said yes, because it was very interesting.

Okamura: For the producer side, while we were in discussion, we believed that we needed someone who could serve as a director and who had skills and experience to create an anime not just for otaku but also mass audiences. Then we came up with Nagasaki, who had successfully made great anime such as Gundam Build Fighters.

Are there any characters whom you most identify with?

Nagasaki: For me, it’s Deku. This is his hero’s story, but it’s not only about the hero. This can translate to any circumstance where you are working hard to achieve your goals. I always try hard to attain to my big goals, and I found a similar attitude in Deku, who is always trying to make that happen. The story is not just limited for children who dream about becoming heroes, but it’s for everyone who is working hard to make their dreams come true.

Okamura: For me, it’s the girl characters. In this story, girls are not only supporting roles but are heroines. I feel this story is more modern that way: girls aren’t just side actors but are reaching their own goals. The girls even fight against the boys. Among the five boy characters, the girl is also a heroine and is trying to save the world. I want to grow old like Recovery Girl!

What is your ultimate goal?

Nagasaki: My own goal is to make each anime I make better than last one. I want more people to enjoy anime.

I thought you were going to say “taking over the world” or something.

Okamura: (laughs) But, our anime is watched by many people around the world. This is another way to say “taking over the world”, and he is probably trying to take over the world by the anime coming the U.S.

Is there anything you are looking forward to seeing besides the convention center in Los Angeles?

Nagasaki: The atmosphere is pretty good, and I really like it. I think I don’t have enough time to sightsee this time but want to visit here again on a private trip. If I have time, I want to go Santa Monica, which is a different side of LA.

Video: nbkz Sakai panel @ Anime Expo 2016

Mangagamer, a localization company bringing top selling Japanese visual novels to the English-speaking market, held a panel at Anime Expo 2016 with their guest nbkz Sakai (伸和酒井).

The CEO of the Japanese visual novel company minori,  nbkz Sakai has produced many famous pretty and shiny games, such as ef ~a fairy tale of the two~ and eden*, some of which have received anime adaptations. Ever since 2010, minori has worked with Mangagamer to bring the original visual novels to the Western market.

Anime Diet was able to capture almost all of the panel in the video, and a transcript (which has been lightly edited for brevity and clarity) is available below the video for those who prefer to read it instead.


Mangagamer Staff: Hello everyone, thank you for coming to the nbkz Q&A panel today. I’m Kai, great to see everybody, we have with us nbkz Sakai. So if you didn’t know, nbkz is the president and artistic developer for Minori, a Japanese visual novel developer, who did ef ~a fairy tale of the two~, eden*, Supipara, and hopefully many more to come! I have a few questions for nbkz. In just a moment, we’re going to show you a cute little video!

MG: So that was ef ~a fairy tale of the two~. nbkz, could you give us some insight into your experience working on ef?

nbkz Sakai: ef was made in 2006, so about ten years ago, but that was the release date. We started working on ef about three years before, in 2003. So watching it again right now… it feels kind of old. So reflecting back on that brings back memories, of working together with the director, Mikage, though he isn’t with Minori anymore. I remember all the fun days we had arguing with each other.

How many of you here have already played the game ef? A lot!

ef has five characters: Miyako, Kei, Chihiro, Mizuki, and Yuuko.
It was originally planned to start off with the first three characters, and then have Yuuko towards the end, but it actually starts with Yuuko at the beginning and Mizuki at the end.
In the end, what you played has Mizuki incorporated with Yuuko. We decided that this was the best way to showcase the story to the reader. Minori is a game company that involves a lot of staff in the decision making process, and everyone gets together to agree upon how best to showcase the story.

ef was sold into two chapters: the first tale and the latter tale. I believe ef is still the #1 Japanese game in volume of text and images used. And if anyone tells us to make a game like that again, we’ll probably say, “Nah!” We’re not that young anymore!

MG: What does “ef” actually mean?

nbkz: We really didn’t give it much thought. We just decided it might be an abbreviation for anything! We just pulled out the dictionary and the letter “E” could stand for anything, like “everything” or “eternal” or whatever. The original title for this game was actually “Angel’s Sunday”; we decided to use that as the fandisc title. We already decided upon what phrase to use towards the end of Angel’s Sunday. In the latter tale, the ending theme is called “Ever Forever”. This was actually the first thing we decided upon when we created the game. So, since we’ve decided on the song name, let’s make it “ef” for the rest of the game. For the animation, the opening theme was called “Euphoric Field,” so that also stands for “ef”. We made it seem like everything was tied to the abbreviation “ef”. There’s a lot of wordplay going on in the anime version of ef. For example, if you line up all the titles of the anime episodes, they become lyrics. There’s a lot of hidden easter eggs.

MG: Do you have any memorable or noteworthy experiences from when you worked on ef?

nbkz: It was really tough and very busy while we were creating this game. We worked on this game for a very long time, and we couldn’t see the goal or the end of this game. I still have nightmares about making this game. A hellish nightmare I’ll never finish this game on time.

MG: We’re going to our next title, eden*.

nbkz: It’s been a while since I’ve seen that too.

MG: What made your team make a kinetic, all-ages visual novel about an inevitable apocalypse? What sparked this idea?

nbkz: Jump back to when we were creating ef. Once we finished, we all got together, and concluded that ef was a really long game; let’s make our next game a bit shorter. We decided to do a more experimental type of game, which isn’t set in the stereotypical high-school setting. We wanted to do something very different. While ef was the best-selling Minori game in Japan, eden* was the best-selling Minori game in the foreign market. Eden* has become Minori’s most famous title for foreign fans, and through this title, we were able to learn a lot of things about the foreign market.

We’d like to create a new title similar to this! How many people here have played the game eden*? Thank you very much. It’s being sold on Steam for a very generous price. Please try it out!

MG: Similar to ef, did you have any memorable experiences with eden* as well?

nbkz: We worked on eden* very hard as well, and we put a very heavy emphasis on the visuals. For example, a typical visual novel has static backgrounds. If we are the characters and the audience is the player, from your perspective, the background would be this wall behind me. But if it was eden*, we have backgrounds created for all four sides as well. We call this the Pokemon depth of field… like Spielberg. So it’s a camera angle thing, where you can have two characters on screen with two different cameras, so you can see a characters from different camera angles.

This is a really good technique to use to switch around the perspective of the player. And a camera has bokeh, ie. to blur out backgrounds when you are very close. It’s a technique used in a lot of movies where two characters on screen can be individually focused on for emphasis, leaving the other blurred out, so you know who to pay attention to. If you switch around the camera angle, you might be able to see sunshine shining through from the other side.

Because we decided to go to such extreme lengths, the amount of work wasn’t much less than ef. The story itself is only about 1/4 the size of ef, but since we focused so much on visual quality experiments, it took about the same amount of work as ef. The staff was very angry at me.

When we saw the eden* opening, the girl, Sion, ran across the water. When you are drawing an anime, it’s very difficult to draw characters with their feet on the ground. If you watch anime, you will notice that they try to cut scenes where characters’ feet touch the ground. I was reminded by watching this opening animation that we took on this challenge! And yeah, I understand why all the animators say that it’s very difficult to do.

MG: Would nbkz want to share any further insight into eden* before moving on?

nbkz: So we’ll next move onto showing Supipara. Mangagamer will be selling this game on July 29th. Can you pull up the panel?

nbkzSupipara is still an unfinished work in Japan. We only released chapters 1 and 2. The entire game is five chapters long. We decided to release the first chapter for the US and European market. I believe, based on sales of eden*, we’ll definitely release Supipara chapter 2. As for chapter 3, 4, 5… we’ll probably not sell in Japan, due to low sales. However, with the foreign market, depending on sales, we may release chapters 3-5, specifically for your market. Please purchase chapters 1 and 2 and we may be able to release the remaining chapters. I believe this game will be sold on Steam, so please purchase this. It’s got the most recent techniques and our specialties in creating our games, what you would call the Minori technique, all squished into Supipara!

Just reviewing the Supipara opening, I was very impressed with the way we able to animate the sequence with Alice, the little witch, flying across the sky. We did the animation where Alice flies from her house to her destination in just one cut. We created a 3D model of that and an environment so we could animate her flying in different directions. Supipara is set in Kamakura, a city in Japan,
and we simulated how the city would look like from multiple perspectives in the 3D scale model.

Unfortunately, the Japanese PC game market has been stagnant, so it didn’t sell very well and we’re deeply in the red on Supipara. It was very very bad, the company was almost about to go bankrupt back then. After reflecting on the video, I’m very satisfied how it turned out. It was really great that we were able to do this game. We’re probably not going to release chapters 3-5 in Japan, but story, and everything has already been completed. It’s just a matter of how much revenue we can get from the foreign market, and if it’s good enough, we can do the rest of the chapters.

I guess this is it for my take on Supipara… do you have any questions?

MG: How difficult would it be to assemble the original Supipara team for future chapter development?

nbkz: Actually, it won’t be that difficult. Very few people left minori after Supipara. All the tech guys and people who did key animation sequences are still here. It won’t be that difficult. Most of the storyline and the artwork is already done for chapters 3-5, we just need a little tweaking, adding more illustrations, and polishing up. It will still take a little more time to complete Supipara. We still have to eat and we need revenue to make Supipara. If eden* didn’t sell that well, we probably wouldn’t have been able to release Supipara.

Japan demands games that have a long storyline, but Minori games have compact storylines. This has more to do with minori’s style, because we want to focus on the scenes and visuals instead of the story and the text. In a very typical visual novel, you usually have two characters standing there with very few movements of their hands or faces. It kind of looks like a puppet show, like something you show to little kids. Minori tries to stay away from that as much as possible.

If you really think about it, you feel odd playing a typical visual novel because you really do not see any situation in real life where two characters just stand in front of you with very few facial expressions or hand gestures. It feels kind of weird. Minori tries to stay away from these “unnatural” techniques commonly used in visual novels. With Supipara, we tried to use techniques like characters with lip synced mouths and blinking eyes. Because of that, the staff had to draw a lot of animation sequences and drawings. The staff got angry at me again.

Even though the staff gets angry: “why do I have to do all this?”, I tell them that, “No one else is doing it, it’s fun and interesting, let’s do it!” The staff accepts that. In the end, they do what I ask, and they are happy, and I am very satisfied at how much effort the staff has put in. It’s kind of like Minori is a “black company” like Wal-Mart where people are paid very low but expectations are high. In Japanese, we call these “black corporations” because they are very dark… and black…

All jokes aside, all of our staff, including myself, want to showcase the best game we can ever produce, to all the fans and consumers who purchase our products. We have a secret where we want to surprise everyone every time we bring out a new game. We’d like to continue that tradition as we go along.

Supipara will be going on sale July 29th, so please purchase it.
And that’s about it for Supipara.

MG: We’d like to open up the floor for a very short Q&A session!

Interpreter: One rule: if you want to ask nbkz a question, tell him your name, and your favorite game.

Questioner: Minori game?

nbkz: Any game!

Questioner: Kevin, favorite game is Nine Hours, Nine Persons, Nine Doors.
In every minori game, the sound track is done by Tenmon. What is it like to work with him, and what do you think of his work in general?

nbkz: Since I know his personality (we’re close friends), it’s very easy to work with him. Compared to Makoto Shinkai, it’s much easier… Even though I might ask him to do several retakes if I’m not satisfied, he probably deep down hates me, but he pretty much gets along with me and does his job really well. My belief is, despite how that might sound, he gives it his 100% best, and that’s the biggest motivation for him to keep on making better and better music.

The strongest advice I’d probably give him is, don’t ever take shortcuts or cutbacks to anything, I want him to give us the best that he could, otherwise, everyone else will start to slack off and cut corners. We don’t really want to do that.

Questioner: Raymond, favorite game is The Fruit of Grisaia.
You seem to have a lot of tech in the backgrounds and the scenes, like in eden*. Do you see anything in VR?

nbkz: We have a lot of ideas in mind, but virtual reality isn’t one that we think is possible at this point. We are mainly focused on adapting and portraying techniques similar to those used in anime and Hollywood movies in our games.

Questioner: Winston, favorite game is ef.
Prior to ef, you worked on Wind ~a breath of heart~ and Haru no Ashioto. Was there anything from those two games that led to the creation of ef?

nbkz: Before that, there was also a game called Bittersweet Fools. Our first game was Bittersweet Fools, our second game was Wind ~a breath of heart~, and our third game was Haru no Ashioto. Every time we finish one game, we celebrate that we’ve made the best game ever. Like everyone else, we take a day off, sleep, etc. And then we reflect back on the game that we’d just produced, and we start regretting. Why do we do this? Every time we finish a game and take a short breather, we come back regretting saying, “Man, I really want to scrap everything and start from scratch!” That’s not possible, because once it’s being sold, it can’t really be recalled.
Since we can’t recall those games back, we can only use that motivation to be more successful with future titles.

I guess you could say that if we are satisfied with our own product, that probably means it’s game over for minori. Please continue supporting us until… we reach our “game over”!

Question Guy: Constantine, favorite game is Tsukihime.
In ef, there was a pretty big change in style from Wind ~a breath of heart~ and Haru no Ashioto, where there was just this huge increase in highly-detailed, very gorgeous CG artwork. What was the process in deciding on taking such a huge undertaking in making ef?

nbkz: Our focus on CG artwork predates Haru no Ashioto and actually begins with Wind ~a breath of heart~Haru no Ashioto was actually produced with very limited staff members. Haru no Ashioto was actually a testing ground for future graphic artists and sheet designers who worked on ef.

The game Haru no Ashioto is 100% complete, from my perspective. For all of the storyline, storyboard, plot, effects, and cinematography of Haru no Ashioto, I made all the decisions by myself. But at that time, the new graphic artists and chief designers didn’t quite understand what I wanted to do at that time. It’s kind of difficult to explain that on a piece of paper, or even through the words from my mouth, so they actually had to create a game to understand what I wanted to do. So the game Haru no Ashioto was made.

To put it in another way, Haru no Ashioto became a stepping stone to ef, which is what I really wanted to do. And that’s how the beautiful CG of ef came along.

MG: We wanted to move onto something very special to nbkz Sakai, if he’d like to introduce it…
This is his new game, Trinoline!

nbkz: One more thing, this is our new game Trinoline. For all the special people who are here, this is first time anyone has seen artwork for Trinoline; not even Japan has seen it. The reason why I wanted to show this at Anime Expo is because we want to sell this worldwide as well. I’d like to consider Trinoline to be a compilation of everything we’ve done so far…

Eden* sold very well worldwide, and we think we might want to do something very similar to eden* [with Trinoline]. I completely understand that the Japanese market has different tastes. Therefore we decided that we should make a title that incorporates both aspects of what sells in Japan and sells worldwide. That’s why we decided to give the Trinoline project a green light. We anticipate our release date for Trinoline will be early 2017 for the Japanese market.

Usually the translation of visual novels happens after the Japanese release, but that leads to differences in release dates because translation takes time. In contrast to that, we want to close this gap, so we are working closely with translators to translate as we make the game. So we can release the worldwide and Japanese versions with a very short gap between the two. That responsibility falls on Mangagamer, so I really hope they do a good job translating Trinoline. So if it doesn’t come out soon enough, complain to their staff and give them more pressure… and Mangagamer will become more like a “black company” like minori!

I’d like to release this game in Japan as quickly as possible, and hopefully you will get it quickly as well. This illustration will be shown in Japan sometime around July 20th, so you are the first to see this. I guess everyone will be wondering what nbkz was talking about at Anime Expo, as some people here are already sharing this picture on social media, so [Japanese fans will] know what I did!

It’s been about ten years since Minori started looking towards the foreign market. We started off by creating a blockade wall. It took a huge leap of faith to walk over that wall to see the outside. I believe when we first put the IP block on our website for foreign fans, I mentioned that we would like to tear down this wall in the future. Although it took about ten years, we finally started to tear down that wall, thanks to Mangagamer, and we’d like to work together and provide more of our games to the foreign market.

I truly believe in spite of the Japanese gaming market shrinking, the US and European market seem to be growing. It’s still smaller than Japan right now, but it’s growing at a nice pace, so we look forward to that. Market growth is based on fans who want to share what they love to other potential fans, and that’s how the market keeps growing, so: thank you, fans. Hopefully you’ll keep on supporting us to see more and better titles for the foreign market.

Interpreter: That just about concludes our panel, thank you very much for coming and visiting!

Interview: Itaru Hinoue, Character Designer of Key Visual Arts

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.”

Shizuru from Rewrite.

What are your favorite character types to create–tsundere, megane, eyepatch, cool, etc.?

With Shizuru [Nakatsu, from Rewrite], I stuffed in everything I like into that chracter. That could be your base line of what I like to draw.

Are you aware that there are a lot of fans overseas of Key, and we were able to raise $500,000 for an English translation of Clannad?

I didn’t know it was overseas as much, but at Comiket, I did see some overseas users that visited.

Will Key focus on the overseas market in the future?

[producer] We’ll try!

How did you develop your special style of creating characters, with the large eyes and high noses? 

I’ve been drawing since I was little, and I’ve always liked large eyes–it’s a staple. Whenever I draw they just end up being big.

Interview: Ryukishi07, creator of Higurashi and Umineko


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 Press Conference Transcript: Otakon 2014

Pata, Yoshiki, and Heath

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.

X Japan will be performing at New York’s Madison Square Garden (MSG) on October 11, coinciding with New York Comic Con.

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.

Now I have a YoshiKimono clothing line. Actually, I’m going to be debuting the YoshiKimono Tokyo Collection 2015.

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.


Katsucon 2014: Cherry Tea Maid Cafe

Maid Cafe

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.

Maid Cafe

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.

More pictures here.

Maid Cafe




* I had no cash on me.

Katsucon 2014 – Lolita Dark Concert



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.

Anime USA 2013: Club Ikemen Paradise Host Club


“Well, I have to do what you tell me to.”

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.


More pictures here.

* 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.

Anime USA 2013: My Cup of Tea Maid Cafe


I am in love.

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…



moe chant

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???!!!

More pictures here.

Maid Cafe






*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~

Porno Graffitti, Live at Anime Expo 2013


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.

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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.

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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!

Set List

  1. Apollo (Debut song)
  2. Koyoi, Tsuki ga Miezutomo (Bleach 3rd movie ending song)
  3. Matataku Hoshi no Shita de (Magi 2nd opening song)
  4. Hitori no Yoru (Great Teacher Onizuka 2nd opening song)
  5. Anima Rossa (Bleach 11th opening song)
  6. Saudade
  7. Winding Road (Ayakashi Ayashi ending song)
  8. Ai ga Yobu Hou e
  9. Century Lovers
  10. Mugen
  11. Melissa (Fullmetal Alchemist opening song)
  12. Haneuma Rider
  13. Music Hour


  1. Agehachou
  2. Dilemma
  3. Melissa

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Porno Graffitti at AX 2013: Photo Gallery

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 OnizukaFullmetal AlchemistBleach, 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.

Otakon 2013: Maid Cafe

maid cafe

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.

maid cafe

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.

maid cafe