After eleven years of being an anime fan, I finally made it to Anime Expo, the biggest anime convention in the United States, held in Los Angeles, California, this past weekend. I’m a veteran of Otakon, the second-largest anime convention in this country; I’ve actually blogged about that con for this Symposium before. I went to Anime Expo (which this year was co-located with the X Games, for some amusing convention center logistics) to co-present our article “Even a monkey can understand fan activism” in the convention’s academic track with my friend Alex Leavitt. Perhaps inevitably, wandering around AX led me to compare the two, although the last anime con I’ve attended was actually Otakon 2010 two years ago. AX has long had the reputation of being the “industry” con to Otakon’s “fan” atmosphere, and I found that to be largely true – compared to Otakon, there didn’t seem to be quite as much cosplay (though there was a lot of it, and a lot of it very good), and the panels were mostly put on by anime- and manga-related companies and people involved with them, perhaps neatly symbolized by the fact that our badges put us down in the “industry” category and staff kept offering to let us jump the massive queues for panels. One of the people I was hanging out with asked me at one point whether I’d seen anything truly mind-blowing at the con, and I was hard put to it to think of an answer. In the United States as well as in Japan, it seems, this has been something of a fallow year in the production cycle for anime and manga. But the overarching lesson I drew from AX, actually, was the realization that anime/manga fandom doesn’t need the industry. This might sound counter-intuitive, since over the last four to five years the bottom has basically dropped out of both the anime and manga industries in the United States, leaving only a handful of scrappy companies in near-monopoly positions after the exit of some of the scene’s former titans. But this winnowing has left a lot of empty space for innovative partnerships across platforms (such as those Tokyopop has put together to continue publishing Hetalia, or that Fakku.net is putting together to publish hentai manga in print), and it will be interesting, to say the least, to see in what directions these partnerships develop in the future. In particular, I’m glad to see companies beginning to finally harness the full power of digital content delivery tools. (Although I have to admit I thought it was more than a bit rich for Stu Levy of Tokypop to cite “piracy” as one of the causes of his company’s recent near-death experience, since I know for a fact that Tokyopop routinely relied on scanlation groups to pick out new titles to license.) More than that, however, my pilgrimage to AX taught me that anime and manga fandom is not only alive but doing well, well enough that members of a Christian group (I don’t know which one) took it upon themselves to protest outside and pray for the souls of the sinners for the convention’s first three days. In all seriousness, though, when I went to Otakon two years ago I was a little taken aback at how thoroughly it had been transformed into a subcultural convention rather than a convention for just anime and manga. AX has not been transformed to any similar extent, although I did see one or two people cosplaying as raver-style Pikachus, and the number of Homestuck, My Little Ponies, and Avatar: The Last Airbender and Legend of Korra cosplayers was quite remarkable. This seems to me to reflect not only a broadening of the fanbase of anime and manga, but also the new strength and richness of the American animation scene. I found myself telling someone at a party several weeks ago that I didn’t think that it would have been possible for Michael DiMartino and Bryan Konietzko to create the show that they did in A:TLA, which wears its Asian-American storytelling colors with all pride and also is remarkable for the number and variety of its strong female characters (a trend epitomized in the fact that the eponymous protagonist of Korra, the current Avatar, is also a girl), if it weren’t for the success of anime, and realizing that I believed it wholeheartedly. Similarly, I can think of several newer authors of SFF who are obviously anime-influenced (N.K. Jemisin most prominent among them), and I know for a fact that a lot of manga fans have become enthusiastic Homestuck readers. I don’t know that all those bronies would be such enthusiastic Pony fans if shows like Sailor Moon, Utena and Powerpuff Girls hadn’t proven that girls could be awesome a long time ago, either. In a way these developments make me feel better about the disappearance of Japanese-language manga from the AX and Otakon dealers’ rooms of now compared with those of the early ‘Naughts. It’s a lot easier to get manga in multiple languages now than it was then (I can take a bus to Kinokuniya, for example), anyway, and in any event, I’ll gladly trade shifting merchandise availability for the broader influence that anime is beginning to have, and for its broader availability. Now if only Japan could put out some truly stellar shows again. Well, in the meantime, at least there’s Evangelion 3.0.