Conventions are a favorite pastime for those of us at Anime Dream, especially since we're able to attend so few of them each year. This year, we set our sights on Anime Boston, New England's largest convention, located in Beantown's Back Bay (or inner harbor) area. Even though a record 15,438 men, women, children, and Haruhis stormed the Hynes Convention Center and nearby Sheraton, the convention staff handled it like pros. We can honestly say that AB 2009 was thoroughly enjoyable, every minute.

This is the first part of our AB 2009 Report in Many Parts. This year, our cross-section of Anime Boston includes interviews, panel reports, a bit of cosplay, and some sights and sounds of the city. It'll take us a bit of time to post it all, so for now, here's a few clues for what to expect:

We'll get the rest up as soon as possible, so stay tuned!

Anime Boston hosted an exciting group of guests this year, including the esteemed Ms. Yuki Kajiura: prolific composer, performer, and producer of music; and Kalafina, a trio of talented singers that Ms. Kajiura brought together initially to perform theme songs for the Kara no Kyoukai (The Garden of Sinners) films. With the support of Sony Music of Japan, we were able to get to know these wonderful artists a little better; but first, here's a little info about them.

Kajiura's compositions appear in Kimagure Orange Road: Summer's Beginning, and a number of Bee Train favorites, like Noir, .hack, and Tsubasa Chronicle. Her signature style can also be found in the last two installments of the Xenosaga video-game series. Under the name See-Saw, she and Chiaki Ishikawa performed a number of theme and insert songs for anime, such as the runaway hit, "Anna ni Issho Datta no ni" (We Were So Close — Gundam SEED's first ending theme), and a number of .hack songs.

In addition to her own music, she has an impressive record as a producer, starting with actress Saeko Chiba's first two albums, and moving on to form various "FictionJunction" projects. FictionJunction Yuuka (with singer/actress Yuuka Nanri) has enjoyed considerable success, with hit singles placed in the two Gundam SEED series and Madlax, and two albums released.

But it's a couple of the other FictionJunction participants, Keiko Kubota and Wakana Ootaki, that Kajiura selected in order to form her new group, Kalafina. They released their first single, Oblivious, in early 2008. Then a second audition was held to expand Kalafina's membership, and 30,000 singers tried out for the group. From this pool came Maya and Hikaru. Maya only participated in one single (Sprinter/ARIA), however, and in May of this year, Sony announced that she was no longer with the group.

Kalafina's unique sound is rooted in the abilities of each member — Keiko's strong alto, Hikaru's piercing (yet gentle) soprano, and Wakana's full-featured, commanding soprano — blended together, it's magnificent. But don't take my word for it. Check out some samples at CDJapan, or your retailer of choice. Do it now.

For your enjoyment, a clip of Kalafina's "Sprinter". Click to watch!

Kalafina and Kajiura-san appeared at two panels at Anime Boston, and Kalafina headlined this year's concert. The two panels were mostly Q&A sessions with fans, but a couple interesting bits came out of it. Kajiura-san mentioned that members of Kalafina record their parts for songs individually, not together. Also, Kajiura-san didn't compose for Kara no Kyoukai in isolation (tossing the complete product over the fence), as soundtracks are often done. Producer Atsuhiro Iwakami noted that there was two-way dialogue about the music, and both music and animation changed to suit one another. This level of collaboration is rare, and it's a good reason to check out the films. (There actually was a screening of the first film at the convention, but regrettably, Mike and I weren't able to make it.)

On the concert I'll be brief: it was awesome, despite the fans being strangely silent for the beginning portion. I'd like to give a special nod to Keiko's ominous, powerful solo near the end of "Mata Kaze ga Tsuyoku natta." It's pretty intense on the CD, but she took it to new heights in the live performance. As Randy Jackson would say, "That was hot."

Now, without further ado, follow the link below for the interview!

The ADV Films panel was hosted by David Williams and Janice Williams. At the start of the panel, they both welcomed attendees, and informed them that the panel would be a Q&A session. Unfortunately, Williams did not have any title announcements to make at the moment.

The questions began with a guest who wanted to know if ADV had plans to license the Dirty Pair TV series. Williams replied that he's a huge Dirty Pair fan and would love to handle the series. Unfortunately, ADV Films has no plans to license the series.

Another guest inquired about ADV's Blu-Ray strategy. In a nutshell, Williams replied, they don't have one. Currently, no ADV titles have a Blu-Ray adaptation in the works. Williams offered his opinion on the situation, while stating the disclaimer that his opinions don't match with ADV, Matt Greenfield, or anybody else at ADV Films. Williams believes that, at the moment, since anime is a niche market, Blu-Ray just does not have enough critical mass to be profitable, unless it's a huge title. The Blu-Ray market is growing, but Williams is concerned that it's not growing fast enough. He fears that the market may turn out to be like Laserdisc in the long run. Williams admits that he doesn't own a Blu-Ray player, but he does have an HD-DVD player, which he acquired during the post-war fire sales that ensued when HD-DVD bowed out.

Janice took over at this point, and explained that in the past, ADV tried to schedule Blu-Ray releases in the past, but Best Buy rejected solicitations. Unfortunately, Best Buy rejected the titles, which stopped Blu-Ray plans in their tracks. With the reality of the market, if a seller like Best Buy rejects a title, it will be difficult to profit from it. Janice continued, explaining that, until Best Buy demands all anime to be on Blu-Ray, then ADV will not be working with the format.

The next attendee brought up an inquiry about the "Stack Packs" that collections are currently packed in. He expressed concern that ADV was packing either too few, or too many discs in the case, which can cause indvidual discs to break free of the hub. The attendeed asked if ADV was aware of the issue, and what they were doing to fix it.

Janice answered first, explaining that the switch to stack packs was made for economic reasons. It's cheaper to use stack packs over other packaging, and ADV is aware of the issue. They've devised an interim solution that does work, though it's not quite as ideal as they wish. A foam insert is inserted into the case of newer cases, which prevents the discs from moving in the case. Janice continued, explaining that ADV would be using a new type of stack case for sets of five of fewer discs. The new packs have a "seal" that tightens to hold the discs in place.

David explained that ADV used to use "paged" cases that would hold the discs securely. However, people would pick the case up, shake the case, and hear the pages rattle, which gave an impression that the discs were loose. Apparently, the paged cases received a lot of returns, which led to ADV's decision to use stack packs.

The next guest asked if ADV was planning to license Tetsuwan Birdy: Decode (Birdy the Mighty: Decode). David replied with his trademark answer: "I can neither confirm nor deny."

The next question revolved around ADV's work on Mermaid Melody. Specifically, does ADV have plans to release the title? Janice gave a short answer of "no." ADV did produce a dub for the series, but it was a "work for hire" situation, in which another licensor hired ADV to produce it. ADV threfore has no control over the title, or its release.

The following guest asked about ADV losing a "whole lot of licenses" to FUNimation recently. David Explained that the only real loss on that level was about a year ago, when Sojitz ended its relationship with ADV.

The next question revolved around FUNimation's increasing share in the market as a whole, to which David and Janice both said "Congratulations!" David explained that he has friends in all of the major companies and that he's happy to see them succeed.

Another guest asked about ADV's treatment of Clannad, which was a subtitled-only release. Janice cleared the air and stated that Clannad was a work-for-hire project for Sentai Filmworks. ADV did not release the title themselves, so they had no say in the title's treatment. She continued, stating that Sentai is happy with the series' performance, so consumers can expect to see more subtitled-only releases from Sentai in the future.

The next question focused on 5cm Per Second - specifically, what happened to the license. David explained that it was one of the titles that ended up being taken by Sojitz in the split.

Things took a more serious turn when an attendee asked how ADV would weather the current storm - how they would survive the current financial situation. David explained that, no matter what happens in the industry, Matt (Greenfield), Janice, John (Ledford), and himself will always be in the industry, because it's their passion. He explained that he's starting to see signs that the economy is improving. Sales are starting to pick up, even though things are still a bit tight. He continued, saying that any company surviving today needs to be nimble and able to change with the times, while also able to manage costs.

Another guest piped up, asking if ADV had plans to license End of Evangelion, since Manga let the rights expire. He continued, asking if ADV had plans to release all of its VHS titles onto DVD. On the DVD front, David explained that contracts were made for VHS and VHS only. When DVD hit the market, the Japanese demanded that the contracts be re-negotiated, since DVD is considered a separate medium. In regards to Evangelion, he just smiled and repeated "I can neither confirm nor deny."

The next guest asked if ADV had a specific strategy for digital distribution. Janice explained that they do have a strategy in place, and that ADV's titles were available via a number of sources, including the XBox Live Marketplace, iTunes, and The Anime Network. She continued, explaining that ADV plans to expand its online offerings in the future. David interjected, explaining that he expects the digital sector to expand immensely, now that the average consumer can purchase a TV with internet capabilities, offering immediate access to sites like Youtube and Hulu. Because of this, David explained that he sees a possibility to market more niche titles, since digital product is cheaper to acquire and distribute than DVDs.

Another attendee asked about the shortening gap between American and Japanese releases. David replied that more and more shows are kicking out fairly quickly. He cited FUNimation's simulcasts, and how he saw some of the titles close to two years ago, when they were in planning stages. A lot of the titles that weren't being licensed when they were in planning are starting to be picked up now.

The next question focused on how ADV selects titles for the market. Specifically, does ADV have plans to ask the users what they want? Janice explained that they've done polls in the past, but they observe things far more than they outright ask. She explained that ADV members read forums, keep an eye on what users are talking about, and look for cosplayers at conventions, among other things. At convention booths, they try to keep an eye on what consumers are picking up and buying.

Another guest asked if ADV was planning to cut back its sales forecasts due to Best Buy's decision earlier this year. David explained that he hasn't seen any cutbacks. He explained that Best Buy wasn't cutting back its stock. Instead, Best Buy was cutting anime in stores where anime didn't sell, and they were moving the product to stores where it does sell. Best Buy wasn't reducing its buying on the whole, even though a number of their stores wouldn't carry anime anymore.

This was quickly contested by a guest who explained that her local store was eliminating anime from its stock. David quickly rebutted her, explaining that sales were being made up for in other stores.

The next question focused on ADV's live-action science fiction line. Specifically, did ADV have plans to release more? Janice said that it would be difficult to do so, since their live-action licenses were acquired at a time when most companies didn't do their own DVD authoring (but do now). David said that he'd love to have another Andromeda or Farscape in ADV's catalog.

Another attendee asked if David and Janice could compare the fall of the anime market with the bursting of the comics bubble. David said that he actually likens the situation to the video games crash of the 1980s. So many companies were putting out so much product that the market just collapsed under its own weight. Too much hit the market too quickly, and the market was eventually unable to support itself. He said that [the bust] was a necessary evil, though: the anime market needed to constrict in order to survive. He hopes to see the market get back on its feet and start growing again in the future.

I had the opportunity to ask the next question - Since the anime bust of 2006, have licensing costs fallen as a whole, and was ADV still seeing the bidding wars that symbolized the anime boom? David replied that license costs have dropped somewhat. The bidding wars have become a thing of the past, and the feuds that many of us saw and speculated on calmed down immensely. The market as a whole contracted, since everybody recognized that a viable industry can't be supported on the expenses that the companies were racking up.

The next guest asked about upcoming titles from ADV. Janice explained that the titles they know about haven't been announced yet. However, some former-CPM titles are coming out, such as Now & Then Here & There, Grave of the Fireflies, and The World of Narue - all due for a July release.

Another attendee inquired about ADV acquiring titles that they do not intend to dub. Janice explained that ADV's released sub-only titles in the past, and that it depends on the show, and whether a dub will bring in more viewers. David took over, and explained that the age of the show could also be a factor, since older titles did not have split voice and effects tracks.

The next guest asked about ADV's financial footing, since the company as a whole has been quiet. David stated that neither he nor Janice were qualified to talk about that aspect of the company. Neither has access to the books.

Another guest asked for a reaction on recent Media Blasters statements that Best Buy was pressuring the company to release more boxed set titles. Janice explained that the pressure doesn't come specifically from Best Buy, but rather the market as a whole. Consumer buying patterns have changed, and people prefer to wait for boxed sets, and as a whole forego buying singles. The guest continued, saying that he found it frustrating to only be able to buy a few volumes out of a whole series. David explained that many stores only buy the first volume to gauge interest, and will not hesitate to cancel their orders if a title doesn't sell a certain number of copies in a given time frame.

The next guest asked about whether ADV noticed an actual production drop for anime in Japan. Janice explained that it's hard to say whether there is a noticeable drop. They check the TV schedules, and look at the newest material. David explained that some studios even send ADV pre-production materials for titles, which could be as little as a short descriptive blurb, and a few pages of character art. Janice hasn't noticed a drop in production yet, though she did note a sharp decrease in "A" titles (big sellers) on Japanese television. Titles like Evangelion and Haruhi are not as common as they were ten years ago.

It was my turn to ask another question at this point, to which I asked if ADV had plans to cross-promote their City Hunter titles with the upcoming Fox series. David expressed surprise at the news, stating that he hadn't heard about a live-action TV series.

The next guest asked whether Hollywood adaptations of anime titles were actually good for the market. David said that he hadn't thought of it as good or bad. He said that he thinks it's good for the market in general, but it's bad for fans, since it takes a few titles off the market completely. There is a short window to acquire titles for US release, before fans move on to the next big thing. The longer it sits in Japan, the lower its sales potential becomes. The next guest continued this line of thought, as he asked about Battle Angel. David simply said "Talk to Cameron! I have no control over that!"

The panel continued with a question about download-exclusive titles, a la FUNimation's release of Phantom. Janice simply said "never say never!" David said he likes the idea of using downloads to serve the niche market. However, he's a collector by nature, and prefers to have the physical item on his shelf - which generated applause. He explained that he bought an e-book reader, and he enjoys reading titles that way, but he would rather have the real thing. He praised O'Reilly because they offer a physical book, then they offer the e-book for a few dollars more. For anime, he explained that he likes the idea of streaming titles but, at the end of a title's run, he wants to be able to package a show in a collector's set with extras, specials, and the like.

The next attendee posed a question about the impact of illegal downloads, such at Bittorrent. David explained that downloading has indeed impacted the industry. However, the major woes of the industry come from other factors, namely the glut of titles coming out every month. The market jumped from 4 to 5 titles per month to around 30. It's good for the fan because it gives him a choice, but it's bad for the industry as a whole.

The questions shifted back to anime-based movies, as the next guest asked whether the quality of anime-based titles had a bearing on the market. David said that if something doesn't perform as well as it should, it will affect the market as a whole. He explained that Speed Racer's theatrical flop had an impact on other anime-based films in production at the time, but he couldn't pinpoint a specific example of an anime title that suffered from a bad anime-based movie. He continued, saying that he has a knack for knowing what people like. It may not be something he likes, but he knows when something will appeal to the market. David cited Gantz, which he recommended despite not being a fan of ultra-violent shows.

The next question tied to the increasing sales topic, mentioned earlier. David explained that he runs a small business on the side, and that he is seeing sales increase in general. He said that he thinks the economy is bottoming out, and that the market is getting ready to pull out of its current rut.

With time running short, there was time for two more questions. The first question focused on Elfen Lied, namely, why were the OVAs sold separately from the TV series? Janice explained that the OVAs weren't made until after the TV series was licensed, so they were unable to include the OVAs without renegotiating the contract. This would have delayed the process, and led to a later release.

The final question of the day inquired about Yen Press's releases of Yotsuba&! The attendee wanted to know if the license lapsed, or if some other outside circumstances had effected the license. David said that he simply did not know, since he is only peripherally connected to ADV Manga. He never really kept up with that division.

David closed the panel by thanking everybody who attended, and invited attendees to ask further questions at his booth in the dealers' room.

Boston is a great city to wander around, especially if you're there on vacation and have nothing to do. It's there that I learned that the state only allows breweries to give away 21 ounces of free beer per free tour. Which happened to be 21 ounces of beer that I would not otherwise have consumed that fine morning, so all is well.

Do check out the famous Freedom Trail if you make it to Boston. Even if you're not terribly interested in why there are rocks on top of Samuel Adams's grave, it won't be far before you catch the scent of real Italian food.

Some weirdness: I wore the following shirt to the first day of Anime Boston, and three staffers accused me of rooting for the enemy! They could only see the front of the shirt, but I think it's pretty self-explanatory. The nerve of some people....

I donned my field cap after the first break, to make sure that I wouldn't get jumped in the food court or something.

It's hard to explain what it's like to be around Laura Bailey, voice actress and Anime Boston 2009 guest, except to say that she's always entertaining, both in and out of the studio. Her panels should be treated by every convention as a main event, because they always seem to fill up, and crazy things happen. This year, a guy proposed to his girlfriend right there! (His girlfriend *seemed* to say yes, but I didn't hear it.) Other than that, a steady stream of fans waited patiently for their chance to ask her to perform clips of her various roles for their camera phones (which she did), and the rest of us laughed our butts off.

But that wasn't to be the end of Laura time for Mike and Matt at Anime Dream. Jamison at Anime Boston must have suffered a blow to the head (which was not at all our doing), because he scored us more than a half hour of time with Ms. Bailey, at least five minutes of which we used for professional inquiry. The other thirty minutes were spent talking about fun stuff like video games, with the backdrop of Bespa Kumamero's rave going on nearby (dookdookdookdook).

Laura Bailey has quite a few anime voice roles under her belt. On the anime front, she's filled the shoes of Kodocha's Sana Kurata, Negima's Evangeline and Ayaka, and Fullmetal Alchemist's Lust among other personalities. Gamers may recognize her as Street Fighter IV's Chun-Li, Persona 4's Rise, or Bloodrayne's titular Rayne. She's done everything from comedy to drama, and everything in-between.

Be sure to check out her site (linked below) if you'd like more info about what she's worked on. Also linked below is the interview. Enjoy!

(Mike Ferreira contributed to this post.)

The Video Game Orchestra are a Boston-based, student-run group who perform arrangements of video game music favorites. They performed twice at Anime Boston this year, with the first being a semi-formal "Black Orchid Ball." Their second performance was the opener for Kalafina's concert, and from that, we were able to get a handful of photos to pass along. We hope you enjoy it!

(And be sure to check out their website and Youtube videos. Their performances are pretty awesome.)

The panel began with Adam Sheehan welcoming attendees. He explained his roles, and explained the flow of the panel in general. Afterwards, he dove straight into the first topic: Anime and the Economy. Adam reassured the audience that FUNimation is doing fine. He thanked the fans for their support in all venues, from video-on-demand to DVD sales. He praised the fans' honesty first and foremost. Anime fans, he explained, are brutally honest, from outright thanks over the acquisition of One Piece, to thinly veiled threats over Dragon Ball Z's edits.

Between 2008 and 2009, Adam revealed that there was only a 3-DVD difference in releases. Overall, the DVD releases are up for 2009. he moved on to a segment he called "Geekonomics", which revealed a 17% growth in new product. He continued, explaining that FUNimation is careful to not flood the market. He explained that the larger buyers, such as Best Buy and Wal-Mart all pick up FUNimation's major releases, while niche titles, such as Rumbling Hearts sell well through online sites, such as Right Stuf. As a whole, FUNimation is very careful to not inflate the market as a whole.

The next topic, Anime Online, highlighted all of the venues in which FUNimation streams and offers download-to-own options. FUNimation has worked to push their titles onto the Internet through as many venues as possible. Streaming sites include the following venues:

• Veoh
• hulu
• Gaia Online
• joost
• Anime News Network

On the download-to-own front, the following vendors offer FUNimation's product:

• iTunes
• XBox Live Marketplace
• PlayStation Network
• Direct 2 Drive
• Amazon

Adam explained that FUNimation will continue to support both the download-to-own and streaming ventures with regular content updates. He used the digital distribution talk to promote FUNimation's own streaming video portal. Currently, the service features over 500 streaming episodes: some subtitled, some dubbed, some in both formats. Most videos are accompanied by advertisements for the DVD release of the given series, though they try not to be too invasive.

The panel shifted to FUNimation's video on demand offerings at this point. The biggest factor was FUNimation hitting Comcast's VoD lineup. Adam mentioned that the FUNimation channel offers both free episodes as well as paid content, and that they are happy with the channel's performance to date. The network made money from the very beginning, unlike a large number of upstart television networks. Slowly but surely, the FUNimation channel is gaining steam, and should be available on all major cable and satellite providers by next year.

Adam continued, explaining that FUNimation wants to add some value for convention attendees that come to their booth. To do so, they've unveiled a line of convention exclusives. These items range from extra items with purchases (at Anime Boston, bonus items were offered with purchases of Shin-chan or Kenichi), to early releases of DVD sets (Gad Guard, and Ikki Tousen were exclusive to FUNimation's booth until Tuesday).

After explaining business as usual, Adam shifted the focus of the panel to recently-released titles. The first title in the lineup was Kenichi: The Mightiest Disciple - an action-comedy produced by TMS. He said FUNimation was pleased with the title's performance, saying that it exceeded expectations tenfold. The first volume is currently available, while volume 2 is scheduled to hit stores on June 16.

The next title in the lineup was Shigurui: Death Frenzy - a political action series that "makes Basilisk look like Hello Kitty." The series is currently available on both DVD and Blu-Ray. D.Gray-Man was next in the docket, with volume 1 currently available. Adam likened it to Fullmetal Alchemist, so I have to wonder: is it safe to call the series Fullmetal Gray Man? Anyway, the second part will hit stores on June 23.

Gonzo's Last Exile was solicited next. Sheehan referred to it as "an absolute must." The series is currently available on DVD. After Last Exile, Adam highlighted Heroic Age, which is reminiscent of a modern-day Star Blazers.Currently, the first part of Heroic Age is available, with the second volume slated to hit on June 30.

Up next was Murder Princess... a, er... "charming" series that our editor-in-chief has the "pleasure" of reviewing. Sheehan called it "quick and fun," but the staff says otherwise. The series is currently available in a single collection. He briefly mentioned Shin-chan's latest release, but quickly moved on to Romeo x Juliet. Best described as "Romeo and Juliet in the Final Fantasy universe," the series is a Gonzo-fied retelling of the Shakespearian classic. Sheehan was particularly proud of the dub, which was written to integrate lines from the original play, among other changes. The first part will hit stores on June 23.

Adam quickly stepped through the last three titles on the list: Kaze no Stigma, Samurai Champloo, and One Piece. Kaze no Stigma's first volume, the complete collection for Samurai Champloo, and the first part of the second season of One Piece will all hit on June 30.

After One Piece, Sheehan shifted the focus to the new announcements. The first title he mentioned was Fullmetal Alchemist: Brotherhood. He acknowledged that there were online buffering issues, and that it was being worked on. Unfortunately, with "tens of thousands" of viewers, they are struggling with bandwidth issues at the moment. After noting the issue, Sheehan showed a trailer for the Fullmetal Alchemist OVA. He said that he hopes to have the title in stores by Comic Con, which begins on July 23.

Sheehan moved on to Sgt. Frog, which has seen a rocky path to its American release. The series was previously held by ADV Films, who never actually released the title. FUNimation acquired the series in the batch of Sojitz licenses that they scored last year. However, FUNimation were not sure how to approach the series, since it contains a number of obscure references to subcultures of anime fandom like Gunpla (Gundam models). They finally decided that they would leave all of the series's references intact. The first boxed set will hit stores on September 22.

After announcing Keroro, a trailer for the single new title announcement of the panel, Spice and Wolf, was played. Unfortunately, as Anime Vice posted the information early, the impact of the announcement was muted somewhat.

After the trailer, Sheehan revealed that they would announce the English dub cast for Evangelion 1.0: You Are (Not) Alone. To help announce the lineup, Adam called ADR director Mike McFarland to the table. McFarland revealed that the entire original cast was considered and spoken to. However, a number of the cast hadn't acted since the first release of Evangelion in 1998. The lineup revealed is as follows:

• Shinji = Spike Spencer
• Rei = Brina Palenska
• Gendou = John Swasey
• Misato = Allison Peet
• Ritsuko = Coleen Clinkenbeard
• Toji = Justin Cook
• Edelbra = Phil Parsons
• Ibuki = Kaitlin Glass
• Hyuuga = Mike McFarland
• Kensuke = Greg Ayres
• Kaworu = Jerry Jewel
• Asuka = Leah Clark
• Fuyutsuki = Kent Williams
• PenPen = Monica Rial

Spike Spencer and Allison Peet are reprising their roles fromt he original release. John Swasey is reprising his role from the Evangelion Director's Cut. Currently, FUNimation only has the rights to the first film. A Blu-Release is not planned at the moment, but FUNimation is trying to get a theatrical relaese for the film. When asked about the Blu-Ray and digital releases, McFarland revealed that the rights weren't offered to FUNimation yet.

The floor was opened to audience questions at this point. The first question focused on FUNimation's TV broadcasts. The guest asked if FUNimation could use the Second Audio Program to push a subtitled release for the series. Sheehan stated that SAP concerns were at the sole discretion of the broadcaster.

The next question was pointed at Slayers Revolution. The guest wanted to know if voices were picked, and if FUNimation was considering the original voice cast. McFarland said that the voices weren't chosen yet, but they were talking with the original cast, to see if they could get voices to return for the dub. Recording for the series has not started yet.

The next guest asked about Phantom, namely, if FUNimation had DVD rights for the series. Sheehan said it was possible, as they were negotiating for DVD rights. However, FUNimation currently only has the digital rights to the series.

The final question was an inquiry about Sailor Moon. Namely, did the recent survey hint that FUNimation had the license? Sheehan bluntly said "We don't have it." However, does FUNimation want it? "Does a bear shit in the woods?" FUNimation doesn't know how Toei feels about licensing the series to FUNimation.

At Anime Dream, I wear a number of hats: news reporter, peer editor... the usual. However, at conventions, I also get to work my magic as a pitchman. As Matt can attest, I ran around Anime Boston camera in one hand, business cards in the other as I scouted for particularly impressive photographic subjects. Some were obviously bewildered, while others were excited. However, everyone seemed to be smiling about something.

We took a number of shots, but we only have a finite number of space to post everything. Therefore, the ones below were the costumes that we agreed were the best.

I'd like to personally thank everyone who posed for us (even if we didn't get to post your pictures). You were all great, and I look forward to seeing your work next year.

Also, many thanks to Nintendo, who allowed us to take photos of their outstanding Fire Emblem booth before it was broken down.

On behalf of Anime Dream, I'd like to offer a final round of thanks to the following groups and individuals:

• The New England Anime Society, for hosting and operating such a great convention.
• Jamison, the Anime Boston staffer who had the unfortunate task of dealing with all the pushy reporters. He handled it like a champ.
• Laura Bailey, Yuki Kajiura-san, and Kalafina, for taking the time out of their busy schedules to talk face-to-face with us. Also to Ryu from Sony, for coordinating our time with Kalafina and Kajiura-san. You're all awesome.
• All the cosplayers. Your willingness to put your hard work on display and get into character is part of what makes conventions a treat. I have a request, though. There were plenty of Haruhis this year, so next year could we have a Konata cosplaying Haruhi (complete with choco-coronet)?
• David Williams, for selling me a copy of City Hunter Season 3 at a reasonable price. I love you, man. (And I'm sure Mike appreciates the discounted sale of Gunsmith Cats, too.)
• Chris Ayres, Troy Baker, Jekka Cormier, and Greg Ayres, for the surprising performances at "Anime Unscripted" (Whose Line is it Anyway? clone). You guys were amazing. I haven't laughed that hard in a long time. Do babies really come from dumpsters?
• The Chibi Project (chibiproject.com), for all their good charity works for misfit toys. (Sorry guys, I still think the blender lost, or at least it was a tie.)
• Anime Hell(.org), for proving that you're not a real ninja unless your headband says "Ninja" on it. (Also, cartoons by terrorists are creepy.)
• The Video Game Orchestra, for a terrific show.