Category Archives: Liveblogs

Boys Love Mangaka Fan Q&A at MangaNEXT

Just a week ago.. I was in New Jersey listening to the Saturday Fan Q&A panels for Tomo Maeda and Makoto Tateno. I ended up tweeting my way through the two Q&A’s, so here are my tweets and explanations in a linear fashion.

animemiz: Sitting at Makoto Tateno q&a..

animemiz: Correction at Maeda-sensei panel.

My game plan for Saturday was to stake out Panel 1, after my morning’s interview with Felipe Smith. I kept on thinking that Makoto Tateno’s panel was going to go first, when several other tweeters like @Toukochan and @Kaminomimemo were asking about it. So I made clarification.

animemiz: @JManga_official’s Robert Newman presiding at panel alongside the Japanese mangakas.

So getting back to the tweeting.. Robert Newman for Jmanga.com was presenting the mangaka’s panel.

debaoki: @animemiz you should tweet w/ the #manganext hashtag. ;-)

animemiz: @debaoki thanks.. ^_^

As a tweeter and at events, I end up tweeting a lot as I hear of good clips and notes. Normally on the social medium of Twitter, would be good etiquette to use a hashtag. I normally forget, so Deb reminded me… Though at this point, might be better to see this on a PC.

The following are tweets I made, as fans asked questions. Since there was already another Fan Q&A session on Friday, questions were slow to come. Hopefully the tweets are pretty self-explanatory.

animemiz: Maeda-sensei gets ask what made her decide to be a mangaka? She drew for a long time and decided to continue when she debuted. #manganext

animemiz: She didn’t consult her family, since they are a different generation and doesn’t read manga.. but they are supportive. #manganext

animemiz: She gets an average 5-6 pages done. Only has an assistant when she is really busy. #manganext

animemiz: Since her editor is nearby.. Maeda mentions being an honor student on making deadlines. #manganext

The last tweet was made because a fan asked if there was a memorable situation on her as a mangaka not being able to make deadlines, as the anime Sekai Ichi Hatsukoi portrayed.

animemiz: She likes to read many artists from Shonen Manga. But lots are older.. and there are so much that there are no specifics. #manganext

animemiz: Watching Maeda-sensei at work. #manganext http://t.co/y8hfdmvn

animemiz: Tateno-sensei panel now. #manganext

animemiz: Tateno -sensei has 3-4 assistants on a rotating schedule. But she has about 10 so far in her drawing career. #manganext

animemiz: Tateno like to drink. ^_^ #manganext

animemiz: Tateno-sensei uses anime as a reference to draw. At times for series like Happy Boys or Nighthead, used live models. #manganext

animemiz: She’s always wanted to be a mangaka. So no other career choice. #manganext

animemiz: She loves to draw baddies.. ^_^ #manganext

animemiz: She got into bl genre as a freelance assignment. #manganext

animemiz: Tateno-sensei wants to try drawing Vocaloid, but editor rejects. So then how about bl Vocaloid? @JManga_official inquires. #manganext

animemiz: She love visual kei, anime and @LArc_official as music to listen to. #manganext

So the highlight for a lot of people in the panel was to see Tateno and Maeda sketch, and these were offered as raffle prizes.

animemiz: This is silly… 5mins and a photo I took still not tweeted.. >_<

animemiz: Raffle.. #manganext http://t.co/kB0A4uNE

It took a bit of a time to be uploaded, but I took a picture of the interpreter announcing the winning tickets. She went through a couple without any winners, therefore saying “Really.” It became a joke for the moment.

After these panels, there were autograph sessions. So hopefully this entry review wasn’t as hard to read, and definitely fans present for these panels were pretty happy. It really is not often that a mangaka ends up around an area where you live, so the the experience was pretty magical.

Manga Censorship Panel Liveblog

This is a special panel discussing the various issues facing manga censorship in Japan. With the advent of the Youth Ordinance that passed in Tokyo recently, this panel features several speakers who were active in opposing the law and are on the front lines of navigating the tough issues on the subject.

Panelists include Yukari Fujimoto (Meiji University), Daniel Kanemitsu (Translativearts.com), and Takashi Yamaguchi (attorney from Tokyo), and is moderated by CJ Suzuki (City University of New York). This is a more academic conference than most panels.

13.21

The panel is now over. Thanks everyone, to my new followers and faves on Twitter! #SDCC

13.19

The police have very broad power to determine obscenity. The working criteria is showing genitals. No longer applies to text. #SDCC

13.17

There is no political dissent aspect of this censorship. It really is an issue about obscenity, and that definition can change. #SDCC

13.13

Japan comes from a civil, not common, law tradition. We can share similar ideas but have very different details. #SDCC

13.11

Japanese courts tend to be reluctant about overturning laws as unconstitutional, so that route is an uphill battle. #SDCC

13.10

That amendment in a way reveals the real intent of the law. The current law is a face-saving political compromise. #SDCC

13.07

The rejected amendment from June 2010 tried to create the “non-existent youth” class and also fund moral watchdog groups. #SDCC

13.05

“Sexual or pseudo-sexual acts that would be illegal in real life”—does that include two high school kids having sex? #SDCC

13.03

The big change with the Youth Ordinance law is that it names manga and anime specifically as potentially harmful material. #SDCC

13.03

The Youth Ordinance are local laws, and actually most prefectures have similar laws. #SDCC

13.01

Anime/manga don’t currently fall under the child porn law, but many want to change it. #SDCC

12.57

Three criteria: 1.) Violating the sexual sense of shame; 2.) Strongly titillating; 3.) “Decency” and “social convention” #SDCC

12.56

The famous pubic hair law is a directly result of Article 175.#SDCC

12.55

The obscenity law was essentially forced upon Japan by Western treaties during the Meiji period. #SDCC

12.54

Relevant laws: Article 175, Child Porn Law, the Youth Ordinance. Article 175 is the obscenity law. #SDCC

12.51

Censorship in Japan is legally defined ONLY as forbidding publication beforehand—not afterwards! #SDCC

12.51

Article 21 of the Japanese Constitution guarantees free speech and no censorship. But it’s interpreted narrowly. #SDCC

12.49

Takashi Yamaguchi, a lawyer from Tokyo: “Legal Backgrounds concerning ‘Censorship and Manga’ in Japan.” #SDCC

12.49

Japanese censorship is now an international issue, with the involvement of NGOs and other groups involved on the issue #SDCC

12.46

Part of it is b/c of a conflation between “virtual” and “real” child porn; the latter has real victims. #SDCC

12.44

Foreign pressure does play a role in these censorship efforts. There is a perception that Japan is a child porn haven for instance—but it’s not actually true. Less than 10% of such things are hosted in Japan. #SDCC

12.41

Nowhere else in the world than in Japan do women have so much agency in fiction and comics. #SDCC

12.39

Now with lots of overseas attention to Japanese pop culture, governments are looking at it. They didn’t much before. #SDCC

12.38

“Adult” material in US comics was always breaking ground—going against the Comics Code, etc. Not in Japan. #SDCC

12.34

We tend to think of preventive censorship; Japanese censors try to remove ideas that are already out there. #SDCC

12.33

The cultural context is vastly different and a different set of concerns, drive those kinds of decisions. #SDCC

12.31

Japanese artists and publishers are not necessarily going to fight censorship laws as much as Americans might assume. #SDCC

12.30

Next up: Dan Kanemitsu, on the disjunctions of perceptions of censorship in Japan vs America. #SDCC

12.27

Women aren’t necessarily uniformly in favor of the censorship laws. There’s a lot of erotica aimed at them too. #SDCC

12.21

And now a discussion about “ladies’ comics” and BL. Fujimoto insists—it’s made by women, for women, vs some American expectations. #SDCC

12.17

It might be possible that manga helps children distance themselves from the worse impulses via its depiction in manga. #SDCC

12.16

And yet, crime in Japan is much lower. Rape rates, for adults and minors, have gone down a lot since its peak in the 1960s, just as the self-censorship of manga ended. #SDCC

12.14

“There is no doubt that sex and violence plays a larger role in manga compared to other nations.” —Fujimoto #SDCC

12.11

Fujimoto: half of all manga produced, and more than half the revenue, is for manga intended for adults. (Not porn.) #SD

12.10

Fujimoto: In fact, it’s better to compare manga to films and novels in America, not comics. It’s much more mainstream. #SDCC

12.08

Yukari Fujimoto: the Japanese manga market is much larger and more diverse than the US comic book market—by 15 times. #SDCC

12.03

The original title of the panel was specifically about the Tokyo Youth Ordinance bill, which forbids the sale of 18+ manga to minors. #SDCC

Yen Press Panel Liveblog

Here’s a live blog of the Yen Press panel. Last year, they announced several big licenses, so we’re going to be looking to see if they’ll do more this year.

18.57

Looks like it is over. See ya! #SDCC #yenpress

18.55

Now it’s the “swag portion of the evening.” Sounds like this panel may close early. #SDCC #yenpress

18.53

They are also working on being able to read YenPlus on the iPad in the app. #SDCC #yenpress

18.53

A few notes on “With The Light,” which is about raising an autistic child. #SDCC #yenpress

18.50

Q: Android version for the app? A: It’s the next step. iPad was first b/c of the size; then iPhone, since it’s similar to iPad. Android is next on the agenda. #SDCC #yenpress

18.50

Huh, a manga version of Gossip Girl? The new app will have a free preview chapter called “Psycho Killer.” #SDCC #yenpress

18.49

The app will have a CoverFlow-style cover browser. #SDCC #yenpress

18.47

Not Yenpress Plus, sorry. It’s their actual volumes. #SDCC #yenpress

18.47

iPhone/iPad app to be released for YenPress Plus in 24 hours! Yotsuba! and HotD will be out today. #SDCC #yenpress

18.46

Olimpos (Olympus) by Aki. Yes, based on Greek mythology. Yes, BL. #SDCC #yenpress

18.45

Also, Kore wa Zombie Desu Ka? March 2012. #SDCC #yenpress

18.44

New releases: Durarara!! next January. IIRC though it was an anime original. #SDCC #yenpress

18.42

Apparently Anne Rice consented to do an Interview With the Vampire story graphically… #SDCC #yenpress

18.41

High School of the Dead omnibus coming out soon. #SDCC #yenpress

18.39

Early QA: looking any new light novel licenses? A: Not today.

18.37

There will be new licensing announcements today. But first some previously announced titles.

18.37

Introducing the panel members: Abby Blackman, Tania Biswas, and Kurt Hassler.

18.30

Panel should be starting any minute now.

JManga.com Launch Panel Liveblog

This panel, chaired by the various representatives from major Japanese manga publishers, introduced the JManga.com online manga reading service to the public.  It’s suppose to compete with the scanslation sites by offering not just the ability to read manga online but also provide exclusive interviews, articles, and other content along with social networking integration that others don’t provide.

This liveblog is a bit spotty because the Wifi access was inconsistent. I ended up tweeting the panel from my phone, which is what is embedded below.

Manga: Lost in Translation Liveblog

This is a panel about translation issues in manga, starring Paul Starr, Stephen Paul, William Flanagan, Jonathan Tarbox, and Mari Morimoto.

19.29

Panel’s over. That’s it!

19.27

Paull Starr: a translator has much more power with a novel than a manga. Bill Flanagan: in anime subtitle translation you have 2 lines of 32 characters each, and you gotta put a phrase or sentence in it.

19.24

Dialect is a love/hate thing. Mari says that she’s from Osaka, and even she thinks of Osaka-ben as being like a Southern drawl.

19.23

Stephen Paul: he got the chance to redo Azumanga Daioh for Yen Press. When it came to the Osaka character, the anime version had a Southern drawl, the manga has a Brooklyn accent…and that’s a problem. Paul invented something in between and wrote a long translator note…but then the editor wrote him back saying, “So this is in Southern style, right?” That’s how they ended up doing it, not Paul’s version.

19.21

Mari: in Naruto, there have been some differences in various terms. There are differences between the way the anime does it and the manga. It’s a huge spreadsheet…

19.18

Jonathan Tarball: I’ve never had a fight with a translator. As a rewriter I want to do as little translation as possible, in a way.

19.17

Bill Flanagan: whenever there is an offer, I say yes.

19.16

Jonathan: “you named a character what?

19.12

Paul Starr: sometimes it depends on how high up or influential you are as far as title selection requests.

19.11

Q: are there any titles that you wanted but didn’t get? A: Mari didn’t get Ranma 1/2, or Rin Ne.

19.06

Tarbox: sometimes thinks that it’s hard to read a manga in the original Japanese and do it justice in translation. Mari Morimoto is talking about “Cat’s Eye.”

19.04

Couldn’t catch most of the titles they’re talking about b/c of site slowness. Sorry.

19.01

Q: are there untranslated works out there that you, personally, would like to see translated? A: “There is an ocean of manga material, only a bucketful of which has made it into the American market” (Tarbox)

18.58

Jonathan Tarbox: Translating is sometimes like trying to explain Star Trek to your grandmother.

18.52

Stephen Paul: learning Japanese in college is very different from learning it to be able to read a manga comfortably. Learning to translate is in itself a different skill.

18.51

Paull Starr: if you have a lot of criticisms about translation, become a translator, which is an incredibly lucrative field! :)

18.50

Bill Flanagan: there is a range of what people, even purists, think are acceptable or unacceptable. Jonathan Tarbox: If you have four fanboys in a room you have five opinions.

18.47

Mari Morimoto: most people in this room are probably manga purists who want more literal translations. But that doesn’t always work with the flow. Viz’s mission is to also include non-fanatics and those who are new. No one pretends it’s a literal translation; difference between translation and adaptation.

18.44

Stephen Paul: Apparently Tokyopop hired an American comic writer to do the rewriting for Battle Royale and tried to “punch it up.”

18.44

Paul Starr: Changes are never made out of malice, but usually out of best intentions to present the creator in a good light. But fans sometimes have different expectations than translators.

18.43

Bill Flanagan: Negima went through a lot of translator turnover. There was a rewriter who wasn’t sensitive to fan needs and took creative license, combined with an editor who didn’t know how to stop it.

18.40

Q: For more colloquial translations, how do they make decisions to translate? A: Decisions are made by the translators. Problem is that editors aren’t necessarily bilingual now, so they have to trust translator decisions.

18.38

These people have definitely done some pretty cool manga and light novels: Haruhi, Spice and Wolf, the new Sailor Moon…

18.33

The panelists are doing their introductions now.

Yoshiki/Stan Lee “Blood Red Dragon” Panel Liveblog

Stan Lee, Todd McFarlane, and Yoshiki

Stan Lee, Yoshiki from X-Japan, and Todd McFarlane are collaborating on a new project called “Blood Red Dragon.” Here’s a liveblog of their panel at Comic Con 2011.

Yoshiki was slightly mislabeled.

13.54

Panel’s over.

13.53

Fan: “Since so many X-Japan influences so many visual kei bands, which new bands do you admire?” Yoshiki: “What?” He then talks about Lee and McFarlane. (He didn’t seem to understand the question.)

13.51

“I like it when the guy who’s the boss is so involved in the project,” McFarlane says about Yoshiki’s involvement. The banter between McFarlane, Lee, and Yoshiki is really good.

13.48

Lee: “I never heard you talk so much!” Yoshiki: “It’s contagious.”

13.46

Fan: “Stan Lee, as a man to a man, I can say, I love you.” Stan Lee: “I accept that!”

13.46

Will Yoshiki incorporate the band members in to the comic book? “Yes, I think so….Our band has so much drama.”

13.43

Yoshiki thanks American fans for helping Japan in its time of need.

13.39

Yoshiki wanted the piece of music included in the comic to resemble Close Encounters of the Third Kind. A little gothic, etc. As to whether there will be more music for the comic books: “why not?”

13.32

What does Yoshiki hopes to express in the comic that he couldn’t do with music? “I don’t know,” he admits.

13.30

Yoshiki: “when I said ‘superhero,’ I wanted to be Spider Man…”

13.28

Yoshiki: “Can you make me a superhero?” he asked Stan Lee. “Only if you give me a cameo,” Lee replied.

13.26

Apparently Yoshiki gave Stan Lee a cameo in a music video, playing the role of the Devil. “And if you rearrange the letters of Satan, you can spell Stan!” Todd McFarlane says.

13.24

Stan Lee: “I hate these two men!” (Todd and Yoshiki) “I have people who are more talented than me!”

13.24

Panel’s being introduced now: Yoshiki, Stan Lee, Todd McFalane, etc.

13.19

Yay, we will be getting a free limited edition, music-playing copy of “Blood Red Dragon.” It’s a comic book, for those who don’t know…

13.18

Panel’s starting. They’re introducing everyone now.

13.15

They’re playing an ABC News clip about Yoshiki and X-Japan. A puff piece, basically.

13.11

The opening video is starting.

13.10

Waiting for the panel to begin. I hope my tethering battery lasts on this, mine is low…

I had no idea that Yoshiki was an old white guy!

Miyuki Sawashiro Liveblog

日本の新読者の皆様、アニメ・ダイエットへようこそ!弊ブログにご訪問いただき、ひれ伏して感謝申し上げます。私どもは米国のアニメ・コンベンションのレポート、アニメの批評、そしてヲタク文化に関連する事柄を扱っております。なお、弊ブログのフィードはこちらにて登録可能です。

それでは、アニメ・エキスポでの沢城みゆきのパネルの筆記録をどうぞお楽しみ下さい。(筆記録は、今回特別に日本の読者の皆様のために翻訳いたしました。)

14.53

Group photo competition now, rock paper scissors.

じゃんけん終了。現在、みゆきちとみんなで集合写真。ファンたちがおしくらまんじゅう。

14.52

Eliminated first round. She had scissors, I had paper.

じゃんけん第一ラウンド、みゆきちはチョキ、僕はパー…orz

14.51

Giving away signed CDs. Looks like we will do rock paper scissors.

みゆきちがサイン入りのCDをプレゼントすると公言。ただし4名様まで。よってみんなでじゃんけん大会。

14.50

They just announced the signing is right afterwards at the NIS booth. Bad move, announcing it so publicly like that and if there’s no tickets or lottery. There’s going to be a stampede…

みゆきちのサイン会がパネルのすぐ後にNISのブースであると突然発表。なんてこった、こんな発表のしかたって。これでチケットも抽選もなかったらどんなことに。大群が殺到して大混乱に陥ること間違いなし

14.48

Q: What will you be working on the future? A: She wants to study more English and do more roles in it.

Q:将来の展望にむけて何をしたいですか?A:英語をもっと勉強したいです。そして英語をもっと活かせる役をやりたいです。

14.46

Q: What’s your favorite creatures from the Persona/Shin Megami Tensai series? A: “Monsters? Creatures?” There was a character with an eagle.

Q:『ペルソナ/真・女神転生』でお気に入りのキャラは誰ですか?A:(英語で)モンスター?クリエーチャー?イーグルと一緒のキャラがいましたね。

14.43

Celty was one of the most difficult to roles to play because the character doesn’t have a head. She has to reduce the tone of her voice so that it can be a low tone, which took lots of practice.

セルティーは私のこれまで演じた中で最も難しいキャラの一人でした。なぜなら、彼女には頭がないからです。頭がないからこその彼女の低いトーンを出すには、声のトーンを落とさないといけないため、たくさんの練習が必要でした。

14.41

Q: Do a line from Celty in Durarara. In English, but in character? (Some groans from the audience.) A: “Sorry, I can only speak English when I want to order some hamburgers.”

Q:セルティーの台詞を一つ英語でお願いします。(ファンから歓喜の絶叫)A:(英語で)ごめんなさい。私は英語だとハンバーガーを注文することしかできないんです。(笑)

14.40

She had a pretty harsh voice for Hit Girl there.

みゆきちの「ヒット・ガール」の声はとても狂気染みてた。

14.38

She asks us: how many of us have seen “Kickass”? She did the dub of Hit Girl there in Japanese! Now she demonstrates…

みゆきちは「『キック・アス』を見たひとはどれだけいますか?」と尋ねる。みゆきちは、ヒット・ガールの吹き替えをやってたのだ!そして、ヒット・ガールの声を披露。

14.37

Q: You’ve done both mature roles (Celty, Maria), and cutesy ones (Puchiko—she goes “pew!” at the mention). Which one do you prefer? A: She really does enjoy both types. When she’s playing the more mature types of roles, it’s like talking with her coworkers. But when she’s playing kids, she can totally let go.

Q:沢城さんは、セルティーやマリアのような大人のキャラと、プチ子のような可愛いキャラを演じてきましたが、どっちがいいですか?A:どっちもとっても楽しいです。大人のキャラを演じるときは同僚と話してる感覚ですが、子供のキャラを演じるときは、本当に遠慮なく完全に制約なく自由にできます。

14.35

“Girls or Hideyoshis only!” for the next questioner.

「次の質問者は女の子か秀吉に限ります!」

14.35

Q: As Cammy in Street Fighter IV vs the upcoming SF vs Tekken, was there any difference between acting them? Also say “Spin Drive Smasher.” A: (Apparently not certain whether she will do it.)

Q:ストリートファイター4のキャミーと今度発売される鉄拳のキャミー、演技するにあたって何か違いがありましたか?また、「スピン・ドライバー・スマッシャー」と言ってください!A:やるかどうか迷ってるみたい。

14.32

Q: You worked with Kamiya-san, who’s a bit of a hentai. What’s it like working with him? A: I don’t really know if he’s really a hentai! Maybe he could be, but he is one of the most honest people in the industry. For groups like Zetsubou-sensei and Bakemonogatari, his faithfulness and honesty is striking. He is one of the few people who is as preparing as long as he does. Rare in the industry.

Q:沢城さんは、ちょっと変態チックな神谷さんと共演なされましたね。彼との仕事はどうでしたか?A:彼が変態かどうかはわかりません。そうかもしれません。でも、言えることは、彼はこの業界でもっとも誠実な人です。『絶望先生』と『化け物語』のメンバーで、彼の忠実さと誠実さは卓越してます。彼は一寸たりとも準備を怠らない数少ない人です。とてもこの業界では珍なことです。

14.29

Konishi-san is really tall, and worked together on Letter Bee (Tegami Bachi). They were lovers in an earlier role. He’s a really nice and kind guy. She once went to the recording studio, and Konishi-san always prepared the script and leaves it on her chair ready.

小西さんはとても背が高いですね。そして、『テガミバチ』で一緒に共演させていただきました。私は小西さんと恋人役で過去に共演したことがあります。彼はとてもナイスで優しい方です。私がスタジオに行くとき、小西さんは既に私の椅子の上に台本を置いててくれて、私のために準備しててくれたのですから。

14.28

And now Danny Choo gives it a shot…not as well. :) “I’ve got a secret desire to become a voice actress,” he admits, before correcting himself.

そして、ダニー・チューも試してみるのだが。。。微妙だった。「俺も実は密かに声優になりたかったんだせ。」と告白した。でも、本来ならvoice actorというところをvoice actressと言ってしまい、即座にvoice actorに言い直した。

14.27

Apparently, Miyuki’s the screeching baby in that show!

みゆきちは赤ちゃん(魔王)の絶叫をファンに披露!

14.26

Ingrid from my anime club @animesouffle asks: “What was it like to work with Konishi-san in Beelzebub?”

僕の所属するアニメ・クラブ@animesouffleの同僚イングリットが「『べるぜバブ』で小西さんとの仕事はいかがでしたか?」とみゆきちに質問。ちなみにイングリッドは小西克幸の大ファン。

14.25

Audience Q: What’s the difference btwn voicing for games vs anime, and biggest challenges? A: Recording for anime and games is completely different. Usually when one is recording for anime, you are all in the same room and see and feel each others’ expressions. But for games, it’s recording solo; you have to imagine the feelings of the other actors. Imagining punching or kicking sounds are challenging.

会場にいるファンからの質問 Q:ゲームとアニメの演技はどう違うのでしょうか?また何が一番のチャレンジですか?A:アニメとゲームの収録はとても違います。アニメの場合はみんなと同じ部屋で収録するので、一緒に演じている声優さんたちの表情をみながら、またやり取りの呼吸を感じ取りながら演じることができます。しかし、ゲームの場合は、たった一人で収録するので、他の声優さんたちとのやり取りを想像しながら演技しないといけません。また、キックやパンチの時の発声なども大変でしたね。

14.21

“I can choose one!” Miyuki exclaims as people raise their hands for questions.

ファンが手を挙げる中、「私が選ぶわ!」とみゆきちが叫ぶ。(質問者がダニー・チューからファンに代わったため、ここからファンの質問コーナー)

14.21

Q: Any other seiyuu she’s enjoyed working with? A: Maaya Sakamoto (Nino in Arakawa). Sakamoto has been singing since 15 and had always listened to her music. She treats Sakamoto like a sempai, and can speak to her easily. During the recording of Arakawa she made sure she was always seen behind Sakamoto.

Q:他の声優で一緒に仕事していて楽しかった人はいますか?A:『荒川アンダー ザ ブリッジ』でニノを演じた坂本真綾さんですね。真綾さんは15歳のときから歌い続けて、私もずっと真綾さんの歌を聴いてきています。真綾さんは私の先輩みたいな存在で、なんでも話せる間柄で、いつも相談に載ってくれます。荒川の収録中に私は真綾さんの隣にいつもくっついてました。

14.19

Q: Which character do you identify with most? A: In Kimi ni Todoke. She plays Yano. She can really relate to that character, it gives her a “Cupid” feel.

Q:どのキャラが自分に最も共通してると思いますか?A:『君に届け』で矢野ちんを演じました。矢野ちんのキューピッド(縁結び、恋の天使)の感覚にとても共感できます。

14.17

Q: How do you prepare yourself for a voiceover role? A: She did a role in Gosick lately, and played the part of a mother who was giving birth. She went on Youtube to watch videos of mothers giving birth…

Q:演技の準備にはどんなことをするのですか?A:最近、『ゴーシック』に出演させていただきましたが、その中で出産のシーンを演じました。そのために、YouTubeに行って、いろいろな出産のビデオを見ました。

14.16

Q: Do you practice being Maria every day in front of the mirror? A: She’s not really sadistic, but when she’s around the other characters, she feels that she might talk to them in that way…

Q:毎日、鏡の前でマリアの役を練習してますか?A:私は基本的にSではないですけど、周りにそうようなキャラがいたら、彼女みたいな口調になる気がしますね。

14.14

She now does a line from Arakawa: “Get down on the floor and say ‘I want to become a worm.’”

マリアの「もっと土に頭をつけてミミズになりたいって言いなさい!」を披露。後ろにいたオタクたちが狂喜乱舞。

14.13

Q: Any lines or roles that have been profound? A: She’s done many roles, and it’s hard to find a single one. The one for Arakawa Under the Bridge was very special. It’s one of her most sadistic roles. She feels like she’s wearing pin (?) heels doing it.

Q:どのキャラ、もしくは台詞が心に一番深く残ってますか?A:今まで数々の役を演じてきましたから、探すのはちょっと難しいですね。でも、荒川アンダー ザ ブリッジのマリアはスペシャルでしたね。今までで最もSな役の一つでした。ピン・ヒールを履きながらやってる感じですね。(後ろにいた日本から来たオタクたちが「ぜひともお願いします!俺たちドMです!」と絶叫)

14.11

Q: What does it take to become an amazing voice actress? A: Rather than actual skills, when she’s standing in front of a mic, she has to imagine standing by the sea. She suggests that people go to the sea and feel what it’s like. It might help in gaining the feelings to get the role. Spending time with friends helps too.

Q:神声優になるには何が必要ですか?A:技術というようりも、想像力、例えば海にいるシーンではマイクの前に立ってるときに海岸に立ってることを想像しなければなりません。実際に海に行ってみて、その感覚を五感で感じることです。それは役の感情を得るのに役立つでしょう。また友達と過ごすということも大切です。

14.09

Q: What was your big break? A: Usually in Japan, people who want to become a seiyuu have to go a school to learn to become one. However, when Miyuki was 13, she went to a normal school and auditioned for Di Gi Charat for a little sister role (Puchiko).

Q:なにが大きな転機だったのです?A:日本では普通、声優になるには声優養成所に通わなければなりません。でも、私の場合は13歳のときに、普通の学校に通いながら、『デ・ジ・キャラット』のぷちこ(妹役)の役のオーディションに応募して合格しました。

14.07

Q: Why did you decide to be a voice actress? A: In primary school, she used to read a lot of books. Reading them, she realized she could become another person, which is one reason why she became a voice actress.

Q:どうして声優になりたいと思ったのですか?A:小学生のときにたくさんの本を読んでました。で、本を読んでるときに、自分が本の中のキャラという他人に成り切ることができるということを発見したんです。それが理由の一つで、声優になったんです。

14.06

Q: Where will she be traveling after the con? A: She likes going out to dinner.

Q:アニメ・エキスポの後、どこに行きたいですか?A:ディナーに行きたいです。

14.05

She also visited a supermarket and bought chocolate and cream for one of her friends—hasn’t found time to get something for herself.

スーパーマーケットにも行って、友達のお土産にチョコレートとクリームを買ってきました。自分のための買い物の時間はまだ見つけてません。

14.04

She spent 2 weeks in PA for a long vacation, and goes to NY to see some musicals. She also visited the Getty Center, had some trouble pronouncing it…(then again Danny Choo did too)

ペンシルバニアで二週間の長いヴァケーションを取って、そしてニューヨークに行ってミュージカルを見てきました。また、ロスのゲティー美術館も行ってきました。(みゆきちは「ゲティー」の発音ができなかった。またイギリス出身のダニー・チューも発音できなかった。*アメリカ英語とイギリス英語の発音は違う。)

14.03

Q: where did you learn English? A: She did some home stay in Pennsylvania and at university too.

Q:どこで英語を覚えたんですか?A:大学で習ってました。またペンシルバニアでホームステーもしてました。

14.02

“Hey guys, konnichiwa! I woke up now. I couldn’t wait for this day, because it’s my dream to visit a convention abroad. I’m so glad to see your faces, guys! I’m going to enjoy this time with you, so enjoy with us, please. Thank you!”

やあ、みんな!こんにちわ!今、起きたところ。この日はとても待ち遠しかった。だって、海外のコンベンションに行くことが私の夢だったから。みんなに会えてとても嬉しい。今、みんなと過ごしてるこの時間をとっても楽しんでるよ。なので、みんなも、私たちと楽しんでね。お願い。サンキュー!

14.01

Q: When did you arrive in LA? A: She left Japan on Wednesday, and went back in time and arrived on Wednesday. Awesome time traveling! She can speak a little English…..

ダニー・チューからの質問。Q:いつロスに着きましたか?A:水曜日に日本を発って、その日にアメリカに着きました。とても素晴らしい旅です。(みゆきちは日常会話レベルなら英語を話せる)

14.00

Miyuki is dressed in a kimono. “Very nice indeed,” Choo says. “How long did you take to put it on.” Folks who are good at it can do it right away, but it took her 30 minutes.

沢城みゆきこと「みゆきち」が着物を着飾っての登場。ダニー・チューが「素敵ですね!」とすかさずお世辞。「着物を着るのにどれだけかかったんですか?」ときく。みゆきち、「慣れてる人ならすぐだけど、私は30分もかかっちゃいました。」

13.59

What the heck? Danny Choo is the MC for the panel…

ええええ!?なんでダニー・チューがみゆきちのパネルのMCなの?

13.55

Sitting next to @Kylaran right now too. Rome and @Shinmaru are elsewhere. I gave him some of my trail mix.

キララン@Kylaranとロームとシンマル@Shinmaruと一緒に座って待ってる。ロームに自分の持ってるトレーラー・ミックス(ナッツ類の携帯食品)を少しばかりか恵んでやった。

13.52

Maybe I should use my literary creative writing skills to describe Sawashiro. :)

録画も録音もダメな今、ここが僕の作家としての腕の見せ所だな。(^―^)

13.50

First, the bad news: no photo or video of Sawashiro, even for press. This liveblog will be as exact a transcript as possible to make up for the lack.

最初にバッド・ニュース。ビデオ撮影、写真撮影はダメ。報道関係者ですらダメ。このライブ・ブログは、それらの不都合を埋め合わせるために可能な限り正確な筆記録として投稿します。