Ed

[Ed @SparklingJarate]

THIS COLD WAR LECTURE MUST LIVE ON
SO THAT OUR NECKS REMAIN IN SOUND HEALTH

[Ace Adler 💚 🔜 Offkai @AceTheAdler]

💪Looking to pump some iron at #OffKaiGen5? Join us for the official Unofficial Offkai Gym Session!
🗓️Saturday (7/25) at 7PM - 8PM (est.)
📍 San Jose Marriott Fitness Center

All levels of fitness welcome! Bring some water and protein!

[筷子 ☆ Eimi @chopstickschan]

GFL HK416 shooting a 416 🥹

thank you ft mediaworks for hosting !!

[Peoni🔜OffKai Expo/WWC USA @PeoniAstera]

I'm super conflicted about which outfit to wear for my OffKai Expo panel! 😭
Should I go with the #peojudge plushie outfit (left) or the classic ryousangata outfit (right)?

I am talking about my Vtuber model~ Help me decide~

[きらく @kirakuseka]

秋葉原メロブ、RuuChanをすすめる担当者のセンスよすぎる
全人類買いましょう

[Peoni🔜OffKai Expo/WWC USA @PeoniAstera]

📢 PSA to all my Castellas attending OffKai Expo 📢

The BIGGEST #peojudge group photo during my panel on Saturday 10am at Spotlight Stage! Please bring your Peo plushie!

Give your Peo a unique touch so you don't mix her up with someone else's! 🎀
Don't have one yet? Preorder now and pick it up at Hina's booth on Friday!

[Ricky | Save Physical Games! @RickyWinsKO]

Remember Scott Pilgrim?

It vanished from digital storefronts for 6 YEARS because of licensing. You literally couldn’t buy it anymore. It only came back because fans refused to let it die and Ubisoft finally rereleased it.

That’s what people don’t understand about an all digital future. Games don’t have to flop to disappear. A contract expires, a license changes, and poof…it’s gone.

Physical copies are the only thing that survives corporate decisions. That’s why this fight matters.

NO DISC, NO BUY.

[Ed @SparklingJarate]

Tour plushie reunion and then some

@papricots
@hololivetv
@JoshikoPro
@PeoniAstera
@GrenadesW

[Isaac Saul @Ike_Saul]

Cynicism this week is easy. The same president celebrating our break from kings and lords is gathering obscene amounts of power — the kind that would give our founders a heart attack — growing his net worth by $2.2 billion in the first 18 months of his second term, all on the backs of extraordinary self-dealing and corruption. The left (including Mayor Mamdani) is backing soon-to-be members-of-Congress who oppose borders, police, interracial marriages, and believe America is a “fucking disgrace.” Postliberal right-wingers are responding to a Supreme Court case by pondering sterilization for foreign visitors or banning pregnant women from traveling here. Pardons are for sale, and so — seemingly — are elections. Literal neo-Nazis are marching on Washington, D.C.

It goes on and on. But also... I remember how much of that feeling is rooted in some twisted human desire to be experiencing something historic, even — or especially — historically bad. We talk about today’s political violence as if nothing in America has ever come close, like the late 1960s — or the 1860s — just didn’t happen. Brains go haywire over a 6–3 Republican-appointed Supreme Court, as if we haven’t survived the post-Truman and Roosevelt Court (9–0 Democratic-appointed) or the 8–1 Republican-appointed Court that existed as recently as 1992.

Is confidence in elections plummeting, especially among Americans? Yes. But go back to Bush vs. Gore in 2000, or transport yourself to 19th-century America (when elections were actually being tampered with at scale), and you’ll realize this seemingly novel period is not wholly unique.

The truth, whether it’s comfort or caution, is that in our relatively brief 250 years as a nation, we have always had bursts of tumult, controversy, corruption, war, challenges, and division. These features might just be natural byproducts of a free, pluralistic society, because they exist in every chapter of our American story. Yet that story remains one of extraordinary triumph, success, and bittersweet change. Even Trump and Mamdani, in two distinct speeches, emphasized the “exceptional” nature of our country, and the need for us to keep striving to improve. Both retold the revolutionary, “underdog” story of the founders. Both centered George Washington in their own lens of America. Both ruminated on the ideal that all men are created equal. Both spoke to the need for a triumph over tyranny and for liberty to defeat oppression.

So long as we cling to the principles we remember and celebrate this week, and keep a steady head going forward, I suspect the next 250 years will bring much more of the same. And, honestly, thank goodness for that.

[[email protected] | OffKai Expo Gen5 7/25-7/26 @neso_sti]

Good that im in japan instead of AX this year.

AX or even major Anime Conventions in America in general has gone downhill.

Ive been to Anime Conventions both America and Japan.

The difference is how its run is astounding.

Anime Japan in Tokyo was an example of how a con was supposed to run now a days.

Verses with AX its a complete free for all.

If you accused me of the Place -_-, Place Japan ^_^ meme, it tells me that you haven't been to ones in japan or SEA and you are just larping.

[mcguire 🔜 OffKai Expo @Jioriku]

Trying to fix this issue is substantially harder than most people realize I think

We’ve bonded all three major carriers before and bonded in hotel wireless and it’s not been enough lol

We carry a Starlink Mini around to cons we work now because of stuff like that

[Firepower United @FirepowerUnited]

Why does this always happen at my LGS? 😔

[🇨🇭🌲Eric, CEO of the Swiss🌲🇨🇭 @neutral_af]

In Switzerland you can join a Jeunes Tireurs/Jungschützen section sometimes as early as 12 or 13 years old if you're of Swiss origin. Adults and clubs can legally loan firearms to minors to use them at the range for training or for competition.

[NANO-ナノ-OFFICIAL @nanonano_me]

If you’re a fan of Japanese music and live outside of Japan, I would be so grateful if you take a moment to read this🙏

If you’ve ever wondered why more Japanese artists don’t reach out and do shows & tours overseas, the reason is pretty simple and the main one is the hurdle of selling tickets.
There is only a SMALL percentage of artists that can rely on the power of big labels/agents to promote their shows internationally.

Even in Japan, selling out shows is a lot more challenging than in past years, due to people just being satisfied with digital content. And considering it costs even more to bring a tour overseas, you can imagine how many artists are willing to LOSE money by doing so, if any.

It’s not just about the artist not being popular or sufficient enough, or that they don’t have the will to bring their content to fans around the world. In fact, there are so many fellow artists around me that I highly respect, telling me they wish they could do shows overseas, but know it’s not realistically possible, and as someone who yearns for the same thing, it really, really hurts inside.

More importantly, it hurts most that fans around the world will often never ever be able to see a show of their favorite Japanese artist.
I’m not trying to ask for pity, nor demand anything, unless this resonates with you.
But if it does, and you want to know what you can do to help us reach you with our music, it’s really very simple.

Please go follow artist’s socials.
Please go subscribe to their Youtube channels.
Please find them on Spotify.
Please interact with them by commenting and letting them know you’re there to support them.
Please share your passion with the people around you.
AND PLEASE, don’t miss the opportunity to buy a ticket and GO to their shows, when that miraculous opportunity comes, whether it’s a solo or event stage.
I am not exaggerating when I say it IS a miracle and it might never happen again.

I know writing all this isn’t gonna change much, but I just hope it reminds you that every listener, every fan, every second of support matters in keeping music alive, particularly in this generation.

Thanks for listening, if you made it this far🫶
Let’s keep Rocking On.
NANO

[L3SIU @L3SIU]

A Foreigner’s Guide to Japanese Concert Tickets

Yesterday’s Nano post caused a lot of discussion, and one of the biggest concerns people brought up - right after regional restrictions - was how difficult it is for foreigners to buy concert tickets in Japan. A lot of people mentioned the recent Arashi situation as one of the worst examples of how inaccessible the system can feel for overseas fans.

Since I’ve gone through the process multiple times myself, here’s a short guide that may help other overseas fans.

To buy tickets in Japan as a foreigner, you basically need 3 things:

- A Japanese phone number
- An account on Japanese ticketing services
- A way to pay with a Japanese-compatible card

The good news is: all of these problems can be solved either during a single trip to Japan, or with help from a friend/family member visiting Japan.

First: the phone number.
The easiest option is getting a SIM/eSIM from services like Hanacell, Sakura Mobile or Mobal.

Important: it MUST include an actual Japanese phone number, not just mobile data.

Some newer eSIM options can even be shipped internationally to selected countries (sadly not Poland yet). Providers using Docomo infrastructure — like Sakura Mobile and Mobal — also support roaming, meaning in theory you can still receive SMS verification codes and calls in your home country while keeping your Japanese number active.

Once activated, just insert the SIM/eSIM into your phone and you’re ready for SMS verification.

Next step (registration): registering on ticketing platforms.
The most important ones are:

Ticket Pia
eplus
Lawson Ticket (L-Tike)
TIGET

Most concerts in Japan use lotteries, while some are first-come-first-served sales.

Payment compatibility is often the hardest part.
eplus usually accepts Revolut cards, but the others can be inconsistent.
That’s where ANA Pay becomes extremely useful.

If you create an account with ANA, you can activate ANA Pay and generate a virtual Japanese card for ticket purchases.
You can top it up like a prepaid card using foreign Mastercard cards.

Once you have all of this set up, there’s nothing stopping overseas fans from entering lotteries and buying tickets legally under their own information - no scalpers, no shady middlemen.

The Japanese ticketing system is absolutely frustrating at times, but it’s far less impossible than many people think. Hopefully this helps more overseas fans enjoy Japanese concerts properly and without unnecessary stress.

Thank you @nanonano_me for opening this discussion.

I genuinely hope more overseas fans will be able to support Japanese music and artists properly, and I’m happy to help however I can.

[Ed @SparklingJarate]

@AmamiHaruchi @holyknightadvrc '07 all over again

[kapi @fureyey]

cosplay paling menyebalkan kemarin

[mcguire 🔜 OffKai Expo @Jioriku]

@prodyakkai is working on a rental product offering, a first of its kind for us as a company.

It will be the first of a (hopefully) dedicated series of first party rentable equipment for creators, streamers and event hosts/tech teams.

We are looking to answer a question we have received many times from people in the past, being "Can we rent internet from your team? Popup WiFi and self hosted hotspot options are too expensive/overkill for our use."

We're starting with the ability to tie into venue/Starlink or other external based connections and a 4G LTE based connection for general use and basic live streaming all in one box.

Later on we hope to shrink this package down, add in 5G and another 4G LTE modem and support all three major US carriers at the same time for ultimate redundancy when paired with Starlink or Amazon Leo.

Targeting major offerings like Popup WiFi and expensive personal hotspot plans for event use is the goal, and we hope to be able to offer our first rentals for this system later this year. This is a first in a series of changes that aims to move prodYakkai in the direction of hardware rentals and manpower for event hosting/staffing.

We will be running our first real world tests at MomoCon of this system, and will be taking those findings to improve the product moving forward. I'm excited to be able to offer a lower cost, more obtainable alternative to existing systems soon, and I hope that it helps to expand the realm of what's possible on a smaller team/budget scope.

More from us on this to come, so stay tuned! Meanwhile, prodYakkai is still taking openings for late 2026/early 2027 event staffing and equipment rentals as well as general event consultation and production. Please reach out if you are interested!

[GabiGang @GabiGangx]

#Fantography trashed minto

[hara @haraqlo]

【 ご報告 】

2014年12月から11年超、ブッキングマネージャーを勤めていたMOGRAを退職しました！
お世話になった皆様、本当にありがとうございました。
今後は秋葉原の外からMOGRAの1ファンとして皆と一緒にワクワクしたいと思います。

人生で1番お世話になった代表の山田さんを始め、いつも良い音を鳴らしてくれるkeiくん、安全に��べる環境を作ってくれる山納さん、そして採用から卒業まで一緒に過ごした歴代スタッフ達、会社と店舗に関わる皆に感謝してます。

アーティスト、オーガナイザー、演者のみんな、そして店舗に足を運んでくれるお客様と過ごした時間は本当にかけがえのないものでした。
幾多の夜を過ごして、色んな話をして、普通よりも少し多めにお酒を飲んで、忘れられない景色を沢山見せて貰いました。
毎週、秋葉原の地下で過ごした時間は一生の思い出です。

MOGRAだからできる事、自分にしかできない事、オーガナイザー・プレイヤーの表現と幸福、特別な体験を提供する店舗設計について、自分もプレイヤーでありながら多角的に「音楽エン��メとは何か」を真剣に考える日々を過ごせて幸せでした！

今後はより自分の引き出しを増やせるような環境に身を置き、今までと違う角度で企画制作に携わって参りますので、ご期待下さい。MOGRAありがとう！愛してます