On the 19th of this month, the regular meeting of the Society for the History of Multiculturalism, "The Present of Idols ~From Reality to Virtuality~", led by Kan Yamamoto, a famous Japanese animation director, was held in Ibaraki, and Uncle Kuan talked about idols, two-dimensional, three-dimensional and other topics in this society. At the same time, Uncle Kuan also said that he would support WUG until it was disbanded, and then he would leave. The following is a summary of the contents of the society.

Hiroshi Yamamoto: In the animation industry, people often talk about the barrier between the two-dimensional and the three-dimensional, but in fact it still exists today. As an idol fan and an animation supervisor myself, I can feel the sense of disobedience in this situation. According to my own research, it may be because of the different identities of each person.

Q: What kind of audience is WUG for? Wouldn't it be interesting for a voice actor to play his own role only if he was there for someone who went to the scene, but for those who didn't go to the scene (for those who weren't interested in voice actors) or just watched the anime.

Hiroshi Yamamoto: The role of voice actor is not necessary. I think no matter what age group can find WUG interesting. I think the part where the virtual and the real are at the intersection is the most intriguing.

Q: The negative effects of secondary creation. Letting the voice actor play his own role will make the doujinshi less available, and when you ask the characters to do the work in doujinshi, you may feel a sense of betrayal of the voice actor, right?

Hiroshi Yamamoto: It's true that there are few works by WUG in Comiket, and I think the main reason is that WUG is not that popular. But perhaps the reason you are talking about also has a certain impact.

Hostess: Women can draw BL fanjin, or even three-dimensional fanjin, but men generally don't.

Yamamoto Kan: On the other hand, I think men can have some of these delusions. The doujinshi of the characters (voice actors) in WUG and the like, I wish there were some great doujin writers who would draw them (laughs). It's a strange thing for me to say.,But I hope you will do your best to draw WUG's doujinben (laughs.)。

Q: If you let the voice actors play the role of WUG in this way, will the audience have the illusion that "the role of the WUG = the voice actor among them", and it may have an impact on the future career of the voice actors?

Kan Yamamoto: There are already two voice actors doing voice work on "Flower Dancing Girl". Actually, after WUG ended, I went around looking for works for them, and in order to prevent their images from being bound by WUG, I created a lot of retreats for them.

Q: How do you feel about the economy?

Yamamoto Kan: Of course, it's good that the disc can sell well, but it is often said in the industry that the sales of the disc alone are no longer enough, and it is necessary to increase the profit through various methods such as merchandise and games. I don't hate pachinko, so I'm okay with making WUG pachinko. So this way of thinking makes me not pay much attention to disc supremacy on the Internet, and of course, it's great to be able to sell it.

Hiroshi Yamamoto: I'm going to support WUG until it is disbanded, and then I'm going to disappear from everyone's radar. I cried several times while watching Korakuen's concert. It is finished at the time of the peak of popularity. Prioritize how to dissolve rather than follow-up. After the dissolution of WUG ... I won't think about making similar idol works! (assertion)