Exploring the New Lottery System at Anime Expo 2025: Insights from Artists
At Anime Expo 2025, I had the unique chance to engage with a diverse group of artists regarding the newly implemented lottery system for artist participation. With more than 900 artists present, it was impossible to connect with everyone, but I managed to gather insights from around 150 creators. Although this topic wasn’t initially on my radar, the recurring discussions around the lottery system prompted me to delve deeper into it. What follows is an overview of the various perspectives shared by artists as they navigate this significant change in the convention landscape.
For those unfamiliar with the mechanics of the lottery system, it serves as a method for determining which artists secure a booth at the convention. This year marked a pivotal shift, as it was the first time the lottery system was employed at Anime Expo. In the past, artist selection relied on a juried process, where a panel of judges evaluated submissions based on established criteria. The main distinction with the lottery system is its reliance on chance, potentially allowing a broader spectrum of emerging or lesser-known artists to showcase their work, primarily due to the element of luck involved.
The impetus for my exploration of this topic originated from a series of spontaneous conversations with artists while I waited in line on the convention’s opening day. Many artists expressed strong feelings about the new system, compelling me to understand their perspectives more thoroughly. I aimed to capture the sentiments of the broader artistic community at Anime Expo regarding this new approach.
As I navigated through panels and interviews, I made frequent visits to Artist Alley, striving to gather a wide variety of opinions. While this task was challenging, I aimed to present a balanced view of the diverse responses I received, including some particularly noteworthy insights from artists. It’s important to note that all feedback was collected anonymously, ensuring that the voices of these artists could be shared without attribution while still providing context and depth to the discussion.
Artist Feedback: A Numerical Overview
Let’s start by examining the numbers. Of the 150 artists I spoke with, 72 (approximately 48%) expressed satisfaction with the lottery system, while 43 (around 28.67%) reported feeling dissatisfied. The remaining 35 (about 23.33%) held mixed or neutral opinions on the matter. My goal here is not to judge the merits of either stance but to represent the artists’ thoughts and feelings accurately. I’ll explore the various pros and cons presented by each group, aiming to clarify their reasoning.
Perspectives of Satisfied Artists
First, let’s focus on the artists who welcomed the lottery system. Nearly half of the respondents—48%—voiced their contentment with this new approach. Their reasons for support were varied and insightful, shedding light on why they embrace this change.
Many artists expressed gratitude for the opportunity to participate after years of applying without success. Comments such as, “I’m just thankful to finally get in!” were common among responses. Others highlighted the system’s potential for fairness, noting that it “provides equal opportunity” and “gives a fair chance to all artists.”
A significant theme among these satisfied artists was the perceived increase in diversity among participants this year. Statements like, “It brings a breath of fresh air to the convention” and “It diversifies the crowd” reflected a belief that the lottery system allowed new voices to join the artistic dialogue. Many acknowledged that the lottery presents a valuable opportunity for inexperienced artists to gain exposure, with remarks such as, “The lottery system allows new artists to shine.”
However, not all who expressed satisfaction did so unreservedly. Some described themselves as “hesitantly optimistic,” emphasizing that while they appreciated the system, they hoped for a merit-based second round to assess artistic proficiency. This nuanced view indicates that while many artists support the lottery, they still value recognition of skill and effort.
Concerns from Unsatisfied Artists
Conversely, about 28.67% of the artists I surveyed conveyed dissatisfaction with the lottery system. Their concerns were varied and often rooted in the belief that the system undermines the hard work of artists.
Several artists articulated feelings that the lottery system diminishes the value of their craft. Phrases like, “The lottery system invalidates the artists and their hard work” were echoed by many. Others expressed anxiety about the unpredictability introduced by the new system, saying, “It makes things stressful” and “There’s too much uncertainty involved.” Some artists preferred the previous juried approach, stating, “I can accept a jury decision much better than a lottery decision.”
The sentiment that the lottery is discouraging to long-term participants was also prevalent. A few artists went so far as to say, “Lottery systems are generally terrible.” While some acknowledged the challenges faced by organizers due to the volume of applicants, they still maintained that a focus on skill and dedication should prevail over chance. Concerns about oversight and the potential for misuse within the lottery process were raised as well, with one artist questioning, “How do we know they’re conducting a fair lottery?”
Mixed Feelings About the Lottery System
Finally, the group of artists who expressed mixed or neutral feelings about the lottery system comprised about 23.33% of the surveyed population. Many of these artists proposed a hybrid approach that would incorporate both random selection and the opportunity for returning veterans to participate.
This group often noted that the last-minute additions of artists seemed to undermine the lottery system’s intent. Some acknowledged that while the lottery brings in fresh talent, it can be challenging for seasoned artists who have consistently participated in previous years. Descriptions of the system as “both exciting and anxiety-inducing” were common, reflecting the complex emotions surrounding this change.
A few artists pointed to the Dokomi convention in Europe, which utilizes a 3/3/3 system, allowing room for veterans, locals, and random applicants. They suggested that such a model might serve as a viable alternative worth considering for future events.
Conclusion
The feedback collected from artists at Anime Expo 2025 illustrates a vibrant and dynamic discussion surrounding the newly implemented lottery system. Each group—those satisfied, dissatisfied, and neutral—brings valuable insights to the conversation about how conventions can evolve to support a diverse and talented community of creators.
As the artistic landscape continues to change, it’s essential to listen to the voices of artists. Their experiences and opinions are crucial in shaping the future of conventions and ensuring that all creators have the opportunity to showcase their work. The dialogue surrounding the lottery system at Anime Expo serves as a reminder of the ongoing need for understanding and collaboration within the artistic community.
