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Tokyo Game Show 2026: Prepare for the 30th Anniversary!  

Tokyo Game Show 2026 is coming and it will be the biggest ever. Know what to expect and what you’ll find (what we learned from TGS 2025).


What TGS 2025 Taught Us

Tokyo Game Show 2026 is coming, and it’s a big one! 30 Years is a long time and we are going to want to be prepared for it. To understand what is waiting for us, we need to look back at Tokyo Game Show 2025.

TGS 2025 took over Makuhari Messe from September 25 to 28, attracting more than a quarter million visitors. Yep! It’s THAT big. Its theme was “Unlimited, Neverending Playground.” Looking at the place: based theme.

Tokyo Game Show Is Not Really in Tokyo

Tokyo Game Show is held in Chiba, not Tokyo. Makuhari Messe is close enough for the name to work, but the train ride still exposes the geography (not that anyone actually cares where it is, as long as it’s TGS).

TGS is part trade show, part festival, part shopping battlefield and part endurance test. Business days focus on industry. Public days focus on… well, they are different.

Giant screens fight for attention. Music crashes into trailers. People wait in long lines to play for fifteen minutes, then leave smiling like they completed a mission.

You will not see everything, that’s just facts.

The Games That Defined TGS 2025

Tokyo Game Show 2025 did not have one game that owned the event. Major titles arrived from every direction.

Capcom brought Resident Evil Requiem, Pragmata, Onimusha: Way of the Sword, Monster Hunter Stories 3: Twisted Reflection, Monster Hunter Wilds, Street Fighter 6 and Mega Man Star Force Legacy Collection.

Square Enix presented Dragon Quest I & II HD-2D Remake, Final Fantasy Tactics: The Ivalice Chronicles, Final Fantasy VII Remake Intergrade and Octopath Traveler 0.

Konami pushed Silent Hill f, Metal Gear Solid Delta: Snake Eater, eFootball and Project Zircon. Sega and Atlus had Sonic Racing: CrossWorlds, Yakuza Kiwami 3 & Dark Ties, Yakuza 0 Director’s Cut, Yakuza Kiwami, Virtua Fighter 5 R.E.V.O. World Stage and Persona 3 Reload.

The wider lineup included Nioh 3, Ninja Gaiden 4, Hyrule Warriors: Age of Imprisonment, Fatal Frame II: Crimson Butterfly Remake, Ghost of Yōtei, Marvel Tōkon: Fighting Souls, Astro Bot, Code Vein II and The Seven Deadly Sins: Origin.

Xbox finally revealed that Forza Horizon 6 would take the series to Japan. That announcement alone understood the assignment (and it was only the beginning of a campaign that made Forza Horizon 6 one of the most played games ever upon release).

And then there was Hideo Kojima.

Kojima Productions showed more of OD and Physint. Both remained mysterious, because a normal explanation would apparently violate some kind of artistic contract.

Horror, racing, RPGs, fighting games, strategy, remakes and strange experiments all shared the same week.

TGS is the whole argument about gaming happening at once. It’s very reasonable to think that TGS 2026 will be even bigger (in fact it’s the first one that will last five whole days).

Playing Games Is Only Part of TGS

You can have a good day at Tokyo Game Show without playing very much. Popular demos often require timed tickets or long queues. Some slots disappear before you even understand the floor plan.

Still, there are stages, enormous models, photo areas, hardware displays, merchandise and booths built like small theme parks.

I kinda like the indie areas. Major companies arrive with giant LED walls. Independent teams arrive with one unusual idea and hope someone stops walking.

Sometimes the smallest booth gives you the game you remember most.

Cosplay Gives TGS its Face

Cosplay is not decoration added around Tokyo Game Show, but part of its culture.

TGS 2025 used dedicated areas, bringing together booth models, experienced cosplayers, photographers and fans wearing costumes they have probably spent months building.

Armor that defies logic moves through the crowd. Characters designed with no concern for physics stand in front of you asking whether you want a vertical or horizontal photo.

Unlike a lot of other events, TGS understands that cosplay pulls games out of the screen. It adds color and personality. People who usually only consume these characters rebuild them and bring them to life.

The Community is the Real Main Event

I like Tokyo Game Show because well, I’m a gaming nerd, but also because, not going to lie, it’s an insanely good opportunity to network. However, TGS, for most people, is about community.

Online friends meet in person. Visitors cross language barriers through a favorite game. Streamers work beside traditional media. Children discover games while adults rediscover the ones they grew up with.

TGS is international, but unmistakably Japanese. The rules are detailed. The queues are organized. The booths are overwhelmingly loud, yet the crowd remains controlled.

What We Know About Tokyo Game Show 2026

Tokyo Game Show 2026 returns to Makuhari Messe from September 17 to 21 and celebrates the event’s 30th anniversary.

For the first time, TGS will run for five days. September 17 and 18 are business days. September 19, 20 and 21 are public days. The theme is “The Longest Five Days of Nonstop Play.”

Apparently four exhausting days were no longer enough.

One-day tickets cost ¥3,000. Fast Tickets cost ¥6,000. The new three-day Premium Ticket costs ¥30,000 and includes priority entry and lounge access.

There is also a ¥3.3 million anniversary ticket with a pure-gold game medal. No, I did not add an extra zero, that’s roughly 20 THOUSAND USD.

The full Tokyo Game Show 2026 lineup will grow as the event approaches. First come the exhibitors, then the games, then the schedules, followed by the realization that three public days may still not be enough.

Should You Visit Tokyo Game Show 2026?

Probably yes. Whether you’re very much into games or not, it’s a great different day in the Tokyo area. Colorful, fun for adults and kids and a helluva lot less expensive than Disneyland.

You do not need to know every studio, producer or technical detail. Go for the games, indie projects, cosplay, merchandise and atmosphere, or for none of it and enjoy the vibe!

When you go, choose a few priorities. Check ticket systems before arriving. Wear comfortable shoes. Leave space for merchandise you promised yourself you would not buy.

Do not build a schedule that depends on everything going perfectly. It will not. Tokyo Game Show is too large, too busy and too alive for that.

Especially if it’s your first time there, make sure you understand it’s a lot bigger, a lot more crowded, and a lot slower than you think it’s going to be.

9/10 event if you like games.

8/10 if you don’t.

EVO Japan 2026: My First EVO Was a Guinness World Record

EVO Japan 2026: Inside the Record-Breaking Fighting Game Tournament at Tokyo Big Sight

Tokyo Big Sight, May 1–3, 2026 — EVO Japan was bigger than ever, and for one game in particular, it became historic.

This was my first EVO. Not just my first EVO Japan. My first EVO, period.

I remember when EVO started becoming a thing. I was young, (although, clearly, not as young as a lot of the people who now compete in this massive fighting game tournament) and it always seemed like one of those cool, niche gaming events that only the truly dedicated followed closely.

What I never expected was that EVO would become one of the most important events in the entire fighting game industry.

And I definitely never expected that one day, my first EVO would be in Japan, at Tokyo Big Sight, as media, during an edition that would include the largest single-game fighting tournament ever recorded.

Life is funny sometimes.

EVO Japan 2026 was held from May 1 to May 3 at Tokyo Big Sight, using East Halls 1–3, and this year’s edition was the largest in EVO Japan history, with 12 main titles and a record-high total prize pool of 30 million yen.

But let’s be clear: I didn’t write this article for people who already know every player, every matchup, every frame trap, every patch note, and every tournament storyline.

If you are that person, you already know what EVO is.

I wrote this more for the curious visitor. The casual gamer. The person who likes games but maybe does not live inside the FGC (fighting game community). I also wrote it from the perspective of someone who organizes events for a living, because I could not help but look at EVO Japan not only as a fan, but also as a production.

And from both perspectives, EVO Japan 2026 was fascinating.

Walking Into EVO Japan

As you enter the big hall of Tokyo Big Sight, the first impression is not chaos, but scale.

The room is large, dark, and strangely open. Blue light washes over the hall. Rows and rows of gaming stations stretch across the floor. Monitors, consoles, controllers, arcade sticks, cables, cameras, players, staff, commentators, and spectators all form one gigantic competitive machine.

EVO is built for fighting games first.

Not shopping. Not casual wandering. Not random stage shows. Not general entertainment.

Fighting games.

The layout tells you immediately what matters here: the screens, the matches, the players, and the brackets.

In the center of the hall, a large main stage dominates the space, surrounded by smaller stages and production areas. It feels closer to a sporting event than a typical gaming convention. There is a seriousness to the way everything is organized. People are here to compete, and people are here to watch people compete.

That part was extremely impressive.

A Tournament That Made History

The biggest headline from EVO Japan 2026 was Street Fighter 6.

The Street Fighter 6 tournament reached 7,168 entrants, officially setting a Guinness World Record for the largest tournament for a single fighting video game. The previous record was 7,083 entrants, also held by Street Fighter 6 at EVO 2023 in Las Vegas.

That number is hard to fully understand until you see the event in person.

Seven thousand one hundred sixty-eight people entered one game.

Not one event.

One game.

From those thousands of players, only eight reached the final stage. And in the end, Japan’s Yamaguchi won Street Fighter 6 using Mai, defeating Punk from the United States, who played Cammy. Higuchi finished third with Guile, and Hope from Taiwan finished fourth with A.K.I.

For a first-time EVO attendee, that is a pretty insane piece of history to walk into.

The 2026 Main Games

EVO Japan 2026 had 12 main titles, mixing current heavy hitters with older, cult-classic fighting games. The lineup included Street Fighter 6, Tekken 8, Guilty Gear -Strive-, Granblue Fantasy Versus: Rising, The King of Fighters XV, Fatal Fury: City of the Wolves, 2XKO, Melty Blood: Type Lumina, Under Night In-Birth II Sys:Celes, Virtua Fighter 5 R.E.V.O. World Stage, Hokuto no Ken, and Vampire Savior.

That mix was one of the most interesting parts of the event.

You had modern giants like Street Fighter 6 and Tekken 8, new titles like 2XKO and Fatal Fury: City of the Wolves, and older cult games like Hokuto no Ken and Vampire Savior, which gave the event a stronger sense of history.

That matters because EVO is not only about what is new.

It is also about what survived.

Some games are not just products. They are communities. People keep playing them for years, sometimes decades, because the systems are deep enough, broken enough, beautiful enough, or strange enough to keep people coming back.

That is part of the magic of fighting games.

Who Won EVO Japan 2026?

For those who want the quick results without diving through every bracket, here are the main winners:

Street Fighter 6 was won by Yamaguchi from Japan, using Mai. Tekken 8 was won by iKARi from South Korea, using Kazuya, defeating last year’s champion Knee in the final. 2XKO was won by Hikari from the United States, using Akali and Ahri. Guilty Gear -Strive- was won by Tyurara from Japan, using Sin and Ky. Fatal Fury: City of the Wolves was won by Xiaohai from China, using Billy Kane.

Other winners included Oushuu-Hittou for Under Night In-Birth II Sys:Celes, Yutta for Melty Blood: Type Lumina, Kasausagi for Granblue Fantasy Versus: Rising, M’ for The King of Fighters XV, Virgo for Virtua Fighter 5 R.E.V.O. World Stage, K.I. for Hokuto no Ken, and Kaji for Vampire Savior.

The full results matter, but for a casual visitor, the bigger takeaway is simpler: EVO is international.

Japan was strongly represented, of course, but the winners and top players came from Japan, the United States, South Korea, China, Taiwan, France, Pakistan, Brazil, Peru, Costa Rica, and more. Even if you do not know the names, you can feel the global weight of the event.

The Production Was Extremely Serious

One of the most impressive parts of EVO Japan was the production.

There were cameras everywhere. Matches were being broadcast from multiple angles. The main stage had the feeling of a proper sports broadcast, and behind the scenes, there were full production teams coordinating what looked like a very complex operation.

From the perspective of someone who organizes events, this was probably the strongest part of EVO Japan.

The event understands what it is trying to be for the audience watching from home.

That is important. EVO is not just an event in a hall. It is a broadcast product. It is a livestream. It is a global competition that many people will experience through Twitch, YouTube, clips, highlights, reactions, and social media.

On finals day, the seating areas made the room feel even more like a sporting event. People gathered around the stage not just to “see gameplay,” but to witness a moment.

The crowd reacts differently when something is happening live in front of them. You can watch a match at home, but you cannot fully reproduce the feeling of hearing hundreds or thousands of people gasp at the same time.

That is where EVO shines.

The Floor Needed More Entertainment

That said, as much as I enjoyed EVO Japan, I also felt something was missing.

The tournament side was extremely well done.

The floor entertainment was weaker.

This is not to say EVO Japan was boring. If you love fighting games, you are in the right place. If you are competing, supporting friends, following specific players, or watching finals, the event gives you exactly what you came for.

But if you are more of a casual gamer, or if you came with friends and are not deeply invested in the brackets, there were moments where the event could feel underwhelming.

EVO Japan 2026 did have booths, playable demos, merchandise, activities, and exhibitions. For example, 4Gamer reported booths from SNK, 2XKO Japan, exA-Arcadia, VRoad, and the EVO Museum, with playable titles, photo areas, cosplay opportunities, and fighting-game-related displays.

But emotionally, the event still felt very tournament-first.

And I understand that argument. EVO is a tournament. It should be focused on the matches.

But even the Super Bowl has a halftime show. Sometimes the entertainment around the competition is what pulls in new people who later become real fans.

From a purely cold, cynical, business perspective, more floor entertainment means more engagement, more content, more reasons to stay, more reasons to bring casual friends, and more chances for people to discover games they were not already following.

The hard-core audience is already there.

The next growth layer is everyone else.

The Cosplayers Deserved More Space

One of the best parts of the event floor was the cosplay.

Fighting game characters are perfect for cosplay: exaggerated silhouettes, strong colors, iconic poses, impossible muscles, ridiculous weapons, and outfits that make absolutely no sense in real life but look amazing on camera.

At EVO Japan, cosplayers moved through the hall, gathering for photos with each other and with visitors. Some were funny, some were cool, some were sexy, and some were incredibly detailed.

Among them, you could also spot Kaho Shibuya, who helped bring attention to the EVO Museum and the culture around the event.

But I felt the cosplayers could have been given a better stage, or at least a more intentional space.

This is not just because they deserve respect for the time, money, and effort they put into their costumes (although they do).

It is also because cosplay is a show.

It adds color. It adds movement. It adds content. It gives photographers something to shoot. It gives visitors something to remember. It turns the event from a tournament into a culture.

EVO Japan already has the competitive heart.

Cosplay helps give it a face.

The EVO Museum

One of the sections I was most interested in was the EVO Museum.

The museum gave the event a much-needed sense of history. It reminded visitors that fighting games did not begin with modern esports, LED walls, sponsor booths, or social media clips. They began in arcades, on CRT screens, with heavy controllers, endless local rivalries, and people standing shoulder to shoulder waiting for their turn.

At EVO Japan 2026, the museum included historical arcade controllers, fighting game art, figures, and displays connected to major fighting game titles. LevelUp Logy reported that the space displayed past arcade sticks and controllers, major fighting-game artwork, and figures, with many international fans stopping by.

4Gamer also reported that the EVO Museum featured historical PlayStation arcade controllers, fighting game character displays, a HORI controller timeline, figures, and even an area where visitors could experience “Moment #37,” the legendary Daigo parry moment from Street Fighter III: 3rd Strike, using different arcade controllers.

This was exactly the kind of thing EVO Japan needed more of.

For the experienced fan, the museum is nostalgia.

For the new visitor, it is context.

For someone like me, who grew up with games and remembers when being a “nerd” was not something celebrated, it was strangely emotional.

There was a time when playing games too much was seen as something embarrassing. Now, the history of those games is being displayed in a museum inside one of the biggest fighting game events in the world.

That is a pretty beautiful change.

The Vibe Outside EVO

One thing I did not expect was how much was happening around EVO, not just inside EVO.

Tokyo Big Sight was full of people playing games outside the main tournament structure. If you like card games, you would have been happy. People had taken over tables, playing, trading, talking, and competing in their own way.

That kind of thing matters.

The best events create gravity. People do not only attend the official program. They gather around it. They create their own side quests. They meet old friends. They make new ones. They bring their own games, their own decks, their own communities.

That is when an event becomes bigger than its schedule.

EVO Japan had that feeling.

Maybe the floor itself could have used more entertainment, but the people brought energy with them.

And sometimes that is more important.

EVO Is Worth Attending

Would I recommend attending EVO Japan?

Yes.

Especially if you like fighting games, gaming culture, esports production, cosplay, or just want to see what a true competitive gaming community looks like in person.

It is probably the closest you can get to a major sporting event without being trapped in a stadium with 40,000 people. It has the stakes, the drama, the national pride, the crowd reactions, the heroes, the upsets, and the heartbreak.

But it is also more accessible, more niche, and somehow more personal.

Your day at EVO passes quickly if you let yourself move around. Watch a match. Shoot some photos. Visit the museum. Check the booths. Talk to cosplayers. Watch a finals crowd react. Step outside and see people playing card games. Come back in and see someone you have never heard of defeat someone the whole room knows.

That is EVO.

It is not just about the game on screen.

It is about the people who care enough to show up.

Final Thoughts

EVO Japan 2026 was not perfect.

As an event organizer, I think it could do more for casual visitors. More floor entertainment, a stronger cosplay area, more interactive experiences, more lifestyle elements, and more reasons for non-hardcore visitors to stay longer would make the event even stronger.

But as a first EVO?

It was special.

I attended my first EVO in Japan, as media, during the largest EVO Japan ever, while Street Fighter 6 broke the Guinness World Record for the largest single fighting game tournament.

Not bad for a first time.

And honestly, it made me want to go again.

Geisha and Maiko: Mystery, Art, Tradition, and Culture

Have you ever wandered what a geisha is? How popular they are in Japan, how to recognize a real one from someone just dressed like one?
I got you.

Today we’ll be uncovering all the mysteries, beauty, culture, tradition and misconceptions tied to the image of geisha and maiko.
 
Geisha can be found all over Japan, but you have a very high chance of seeing one (or many) especially when visiting the old capital city of Japan, Kyoto. Kyoto is, in fact, still the cultural and historical capital of the country, and, to this day, is one of the places where you can experience Japanese tradition in its fullest, but let’s go in order.



What are Geisha, Geiko, and Maiko?

The word geisha is composed by the kanji (Chinese characters used in the Japanese language) 芸 (gei – meaning “art” or “entertainment”) and 者 (sha – meaning person). Their name very much reflects their role in the history of Japan, as well as in modern times.
There is usually some confusion when reading or learning about geisha culture because oftentimes they are also referred to as geiko. The two words actually are two ways of referring to the same thing. The term geisha is used in Tokyo (and therefore it is the standardized way of pronouncing Japanese language), while geiko is the term used in Kyoto.
The reason why “geiko” may be as heard of as “geisha” is because of the total estimated 1000-2000 Geisha now present in Japan, the vastest majority are in Kyoto.
 
maiko is essentially a geiko in training, and these young women will have to undergo seriously strict training before becoming full-fledged geisha (more about this later).
 
A geisha is an entertainer trained in the arts of dancing, singing, playing instruments, and conversation and hospitality.
It’s important to dispel a myth surrounding these performers: geisha and maiko are not sex workers, despite the widely believed misconception that the words geisha and prostitution go hand in hand.
Part of the misunderstanding derives from misrepresentation of these artists in movies and literature. Some of it lays on lack of available information, and most of it is latched to the history of Japan.

The history of geisha

Pinpointing the origin of geisha in Japan is complicated because there wasn’t a clear-cut rise to notoriety of these entertainers during the history of the country.
Their roots may dig as deep as the 7th century’s saburuko female entertainers and the 13th century’s shirabyoshi dancers.
 
Some saburuko girls sold sexual services (at that time prostitution in Japan was legal). In 1617 the Shogunate made prostitution legal only in the so-called “pleasure districts”, and it would require establishments and working women to be licensed. Among those women were the tayuu, high class entertainers who were experts in dancing, acting, and who also sold sexual services. It’s at the beginning of the 19th century that entertainers started calling themselves “geisha”, and soon there was a very clear distinction between them and working girls. In order to protect the business for which they worked (okiyaochaya) geisha and geisha in training were forbidden from selling sex.
 
From that moment on, the role of geisha as entertainers in Japan became more and more distinct and separated from that of prostitutes, at least until the end of WWII.
 
During the war, because of financial issues, and later because the many changes that followed the defeat of Japan in the war, many geisha ochaya (tea houses) were forced to close down.
Simultaneously, the country saw a sudden surge in the presence of American military on the territory. Soon, many businesses capitalized on the appeal that “traditional Japanese girls” had over the foreign occupants. For these reasons many women dressed as geisha (without actually being geisha) and sold sex to American soldiers for years to come.

Although there aren’t today as many geisha as there were centuries ago, these entertainers are still a very sought after form of entertainment in Japan. As mentioned earlier, most of them are located in Kyoto (largely in Gion and Kamishichiken), but some areas of Tokyo (Shimbashi, Asakusa, Kagurazaka) also have a lot of ochaya.
 
The districts with a high presence of geisha are usually nicknamed hanamachi (flower town), and they are the best bet if you want to attend a show, or organize a private party, or even simply have the opportunity to catch a glimpse of a real geiko.
 
Very much like they used to, geisha today entertain their guests with traditional dances, music, conversation, and by being masters of hospitality. Their services can be extremely expensive, but one could book a few hours, usually over dinner, either in a tea house, or in a restaurant (usually a luxurious Japanese style restaurant called ryoutei).

How to become a Geisha

Becoming a geiko requires effort, dedication, and an enormous amount of practice. Originally geisha training started on average at the age of 10, but since the 1950’s laws that regulated child labor, things changed and nowadays the training starts around the age of 15-18, and in Tokyo, occasionally, later.
 
To start with, a girl who aspires to becoming a geisha, will need to apply, just like they would for any other job, but, unlike most conventional professions, they will have to undergo a very strict screening.
The applicant must be of perfect mental and physical health. This is required because the training can be very arduous and straining.
She must be younger than 18 (or younger than 20 years old in Tokyo), unmarried and no taller than 165 cm.
For younger girls, parents must consent to the training and be present during the interviews.
The applicant must be physically strong and willing to undertake a strict dietary and training regimen.
Finally, the aspiring geisha must have strong and healthy hair and skin, and must be not too skinny or overweight.
 
These rules can change depending on the okiya.
 

Once the girl is accepted, she will become a shikomi. A maiko is a geiko in training, and a shikomi (known as shikomi-san) is a maiko in training. The training period to become a maiko lasts 1-4 years. During this time the shikomi will attend nyokoba (a vocational school for aspiring geisha to learn a variety of skills). They will practice instruments like the shamisen, the fue (a bamboo flute), and the kotsuzumi and the shimedaiko (small percussion instruments).
 
Aside from that, the shikomi will help with chores to maintain the okiya, they will shadow and function as assistants of geisha, and will perfect their demeanor, and proper conversation skills (such as talking to guest, or older people).
 
The training of shikomi and later of maiko is overseen by the okaasan (lit. mother), usually also the owner of the okiya, but they will also have a full-fledged geisha mentor whom they call oneesan (sister). By doing so, the apprentices will be able to learn by watching, gaining real-life experience.  
At the end of this training period, the shikomi will participate to misedashi, the official debut ceremony for a soon-to-be maiko. The girls will wear distinctive clothes (a black kimono) and makeup (especially recognizable because of three white pointed makeup decoration on the nape of her neck).
The most important part of the ceremony is the ritual of sansakudo (three-cup-exchange) during which she will exchange cups with a senior maiko, her mentor, and another geisha.
 
Maiko and how to distinguish them from geiko

Becoming a maiko is already a huge accomplishment but it’s only a step towards becoming a geiko. They do look quite similar to one another, though, unless you’re very familiar with the makeup, hair and clothing.
Aside from their title there are many differences between maiko and geiko.

The first, and sometimes the most evident is their age. A maiko will always be younger. In order to be a maiko, generally, you can’t be older than 20.
 
Another major difference lays in their iconic hair.
The hair a geiko shows is thick and black, but it’s a wig, while the hair of a maiko is the girl’s own hair styled in a similar fashion. Furthermore, maiko will usually wear ornate and showy hair gadgets, while geisha will have ornaments that are less conspicuous.
 

Maiko-san (foreground); Geiko-san (background)

Their iconic makeup may look very similar at glance, but after a closer look, you will notice that while both makeup styles include the iconic thick white makeup on their face, the maiko will have a prominent red blush on their cheeks to accentuate their youth.
Another more visible difference is in their lipstick. Maiko paint only their bottom lip red, or both lips with a thin red line (if the maiko is a senior). Geiko lips are instead both fully red.

Maiko may also have red eyebrows, while geiko do not color their eyebrows.
 
You can usually spot a maiko simply from her footwear (tall and bulky sandals).
 
Some more hard-to-spot differences can also help you distinguish a maiko from a geiko, in particular the length and size of the sleeves of the kimono they wear.
Almost nothing in a maiko’s clothing is purely aesthetic. The shoes they wear are supposed to train them to walk properly accordingly to geiko standards. Similarly, the sleeves of their kimono are longer, larger and heavier, serving the purpose of forcing them to put more effort and perform the correct movements when dancing, playing instruments, engaging in games with guests, or serving drinks.

Why do some girls today still want to become geisha?

Many girls are attracted to the geisha culture for the aura of culture and romanticism that surrounds them. Another no-small reason is that geisha in Japan are treated and considered as (and in some cases are) celebrities.
The life of a geisha can be a fulfilling and profitable one, but while these reasons are enough to convince some girls to start their apprenticeship, they tend to not be enough to stick through the severe training.

Many girls practice performance arts since a very young age, and becoming a maiko and subsequently a geisha is almost the most logical step forward (and that’s why some drop out of high school to pursue that path).

In other cases, knowing that the future of a geisha can potentially be very bright, some families pressure their daughters to become maiko. Unfortunately though, in order to become a geisha, the girl will need a lot of patience, drive, and strength, which are hardly achievable unless there’s a real “calling”. So, there are some cases of girls sneaking out of their okiya to go back home.
 
Another appealing aspect when it comes to the life of a geisha is that these artists travel a lot, not only within Japan, but all over the world for shows and even private parties.
 

Can a foreigner aspire to become a geisha?

The short answer is yes.
It’s not impossible for a foreigner to become a geiko, but the path to becoming one is even harder than that of their Japanese counterparts.
 
The training and selection would be very similar, but the girl would also have to battle against traditional standards that are very hard to break through.
There are currently seven foreign geisha in Japan, none of whom in Kyoto, the city with the most traditional and longest lasting geiko culture.
 
As a foreigner, you would be expected to be able to perform and speak exactly the same as a Japanese girl going through the training, so even being fluent in Japanese is probably not enough (you’d have to achieve a native-speaker level of language).
 

How and where can I see or meet a geisha? How do I find a show or an event to attend?

Interacting with a geisha or maiko today is the ultimate way to experience omotenashi, the Japanese concept of both visible and invisible hospitality.
 
Because of their role as entertainers, geiko appear in many kinds of shows. The most common ones are performances of dance and music, but they are also known for beautiful theatre plays based on acting, singing, and dancing while accompanied by traditional instruments. These plays are usually a take on popular Japanese legends and stories and some of them have been performed for centuries. One such performance is held during the Kitano Odori in Kamishichiken, Kyoto (March to April).

Geisha also appear and participate in some festivals and parades, especially in spring and summer, such as the Baikasai Plum Blossoms Festival (February, Kitano Tenmangu in Kyoto), or the Yasaka Shrine Setsubun Festival (Kyoto).
 
The festivals are free to attend, but keep in mind that they often draw very large crowds. The theatre plays, on the other hand, require the purchasing of a ticket.
If you’re interested, it would serve to plan ahead, and occasionally get some help, as most of the websites that sell tickets are in Japanese only (also, in most cases, you won’t be allowed to take pictures or videos of the performance in the theatre).
 
If you’re interested in a more up-and-close experience, that is also a possibility, but in most cases more complicated.
Being a foreigner will not influence your chances to book a private dinner, or show, but if you can’t speak Japanese you will find it hard not only to book a show, but also to communicate with the maiko and geisha that will be entertaining you.
 
Another thing to consider is that, by and large, a private booking with one or more geishas including dinner, dances, music, and games can be extremely expensive, especially if they are held in a restaurant or ryokan (Japanese traditional hotel), or in the geisha tea house.
 
 
Maiko and geiko in Kyoto

Kyoto is indisputably the largest stronghold of maiko and geiko culture. Almost all of the geisha in Japan live in Kyoto and it’s also your best chance of catching shows and festival where these artists performs.
 
Kyoto is also where you will almost certainly see a maiko or geisha seemingly casually walking the streets of the city.

Being a geiko in Kyoto is as close to stardom as these entertainers can get and several of them are actually very well-known faces, appearing on a number of articles, billboards, news and more.
 
There are several areas in Kyoto where there’s a high concentration of geiko tea houses, but the ones that rise above the others are certainly the extremely popular district of Gion (as well as the neighboring Ponto-cho), and the oldest and most traditional geiko district of the country Kamishichiken.

Gion is an extremely popular tourist area, and you will likely walk amongst a sea of people, while Kamishichiken is a less popular area among tourists, although equally as beautiful.
If you visit one of these districts, you’re almost guaranteed to see one or more maiko and geiko, and you surely will want to take some pictures, or even maybe exchange a few words with them, so how to do that without being disrespectful?
 

How to behave when interacting with a maiko or geiko

Most of the times, when meeting geiko and maiko in the street, common sense is all you need to avoid appearing rude.
If you see a geiko walking in the street you should assume she’s working or going to work. As much as you wouldn’t ask a taxy driver to take a picture with you while they are driving, it’s best to avoid doing the same with a geiko.
 
While it is true that taking pictures of random people without asking is considered to be impolite in Japan, these artists expect to be the subject of attention and you should not feel like you’re invading their privacy, should you want to snap a picture from the distance. That being said, it’s best to do so without blocking their path, or while standing too close to them.

While to most this may seem like obvious behavior, especially in the district of Gion in Kyoto, things have gotten so out of hand that the city put signs in some of the most popular streets of the neighborhood asking people to avoid physically stopping maiko and geiko. Similarly, the signs will inform that you shouldn’t take pictures of geiko and maiko from up close, or grab them by their kimono.
 
If you’re interacting with maiko or geiko during a private or public event, things are a little bit different.
Geiko appear during festivals knowing there will be hordes of professional or amateur photographers as well as a number of tourists. That’s a good time to take all the pictures you feel like taking.

When it comes to private events, how should you prepare?

Well it depends on the kind of event.
If you’re attending a formal dinner, or visiting the geiko’s teahouse, while not required, it’s appropriate to dress partially formally. We are not talking suits and evening dresses, but avoid shorts, baseball caps, or similar clothing, if possible.
 
When you’re interacting privately with a geiko there are some etiquette rules that is always best to keep in mind.
While their training made geiko masters of entertainment and interaction, they are equally as trained into maintaining an aura or mystery. For this reason, they will try to avoid answering questions that are too personal, and will avoid crossing social boundaries between host and guest.
 
Other than that, be respectful and have fun! This is a rare opportunity and an awesome experience.

What can I expect during a traditional private performance?

These occasions usually start with dinner and drinks and are then enriched by a number of performances and games.
Usually the maiko and geisha will play the shamisen or other instruments, and perform several dances (most notably the Nihon Buyo).
 
The night is not only an occasion to see these performers work from up close, but also an amazing experience interacting with them, and playing games with them.
There are many traditional drinking games that maiko and geiko play with their guests, some for two players and some for multiple players.

All you have left to do now is come to Japan and hopefully meet these skilled and beautiful traditional entertainers!

My First Comic Con Ever! And it was in Japan!

Until late 2024, I had never stepped foot in a Comic Con. Not in Japan, not in the U.S., not anywhere.
So my first one being Tokyo Comic Con? Yeah, that was one hell of a way to start.

And to make it even better:
I went as media.
Which sounds glamorous until you realize it mostly means sprinting across Makuhari Messe with two cameras, three batteries, no plan, and the confidence of someone pretending he absolutely does know what he’s doing (yeah, right).

Still, that first Comic Con was electric. Exhausting. Completely overwhelming. I spent the first day just… figuring out what was going on, because Tokyo Comic Con is big, loud, and relentless. Luckily, I had all three days, and by the end of it, one thing was clear:

Comic Con in Japan isn’t just San Diego Comic Con exported. It’s Comic Con filtered through Japan: idols, anime, wrestlers, movie props, cosplayers, Hollywood stars, all mashed together in the most chaotic but somehow very Japanese way.

Here’s what it felt like from the inside (from Tokyo to Osaka) and what you should expect if you go.


Tokyo Comic Con 2024 – Baptism by Fire at Makuhari Messe

Tokyo Comic Con took over Makuhari Messe from December 6–8, 2024.
With my media badge, I got in early, which I immediately used for absolutely the wrong reason: shopping. No queues, no crowds, just my wallet crying quietly in the distance.

What my media pass didn’t help with was the impossible task of picking what to cover. Tokyo Comic Con is a blender: Hollywood + Western pop culture + Japanese entertainment, all happening at the same time, all loud, all bright, all competing for your attention.

The Main Stage – The Big Flex

Across the three days, the celebrity lineup looked like someone opened my DVD shelf and invited everyone inside:

Benedict Cumberbatch, Jude Law, Mads Mikkelsen, Josh Brolin, Jason Momoa, John Boyega, Christopher Lloyd, Morena Baccarin, Hugh Dancy, Daniel Logan, Ansel Elgort… the list goes on.

I shot the opening ceremony from the media pit. You can choose video (far) or photo (close). I chose photo, and I was so close I could’ve high-fived half the cast if they had known I existed.

Fun moment:
I bumped into Jude Law backstage in a “maybe-no-cameras-here” kind of area. We locked eyes, nodded, greeted each other like two professionals, and I proceeded to act like I hadn’t just met one of my absolute heroes in person.
Also, he’s much taller than I imagined.

Takumi Saitō and Moe Iori hosted the ceremony as ambassadors, surrounded by a whole squad of Hollywood guests – a beautiful reminder that Comic Con is a global powerhouse. Not just “nerd stuff.”

Highlights for me?

  • The world premiere of Ninja Batman vs. Yakuza League. Because only in Japan can Batman end up on stage fighting a Yakuza-spiced Justice League.
  • Jason Momoa being so full of energy the air vibrated.
  • Ansel Elgort casually speaking great Japanese.
  • And always, always Cumberbatch and Law. Their voices alone can carry an event.
  • The Hannibal reunion with Mikkelsen and Dancy; charming and a little unsettling, in the best way.

If you want to meet guests, expect lines. Long ones. Even media can’t shortcut the signing booths, and Japan is extremely strict about where you can take photos and videos.


What to Expect at Tokyo Comic Con

  • You won’t see everything.
    Makuhari Messe is enormous. Go with a plan or you’ll end up drifting like a lost Roomba.
  • There are a lot of people. A LOT of people.
    This is one of Japan’s biggest annual pop-culture events.
  • The “real” Comic Con happens off-stage.
    The halls are packed with displays, shops, props, and, in 2024, Fast & Furious cars (thanks to Fuel Fest Japan), a DeLorean, Terminator statues, screen-used props, auctions, replicas… everything.
  • Cosplay = art.
    The Cosplay Collection is basically a full runway show now, with judges, guests, and dramatic walk-ins. The craftsmanship makes you quietly question whatever you’ve been doing with your life.
  • Side stages are their own universe.
    Variety acts, magic shows, idol performances – it often felt like a Japanese TV special blended with an American pop-culture expo.

Tokyo Comic Con was insane… but it was only the beginning.
Because a few months later, I went to Osaka Comic Con, and Kansai energy is its own beast.


Osaka Comic Con 2025 – Same Multiverse, Different Vibes

By the time Osaka rolled around, I kinda knew the playbook.
I stayed in a hotel next to Intex Osaka (best decision ever. Run to event, run back, drop gear, run out again. Zero FOMO and in-between rest for the weary bones on oversized bed).

This time, Comic Con happened during Golden Week (May 2–4, 2025). If you know Golden Week… you already feel the panic.

It was PACKED.
And Osaka Expo was happening nearby on top of that.

Guest List = Movie Marathon

The overseas guests felt like a cinema festival:

  • Nicolas Cage
  • Bill Skarsgård
  • Mads Mikkelsen & Hugh Dancy
  • Emily Rudd & Mackenyu
  • Christina Ricci
  • Edward Furlong
  • Daniel Logan
  • Sung Kang

The schedule was wild: dense solo stages, themed talks, crossovers, surprises. My personal favorites:

  • Nicolas Cage’s chaotic, wonderful solo panel
  • The Superman celebration stage with NMB48 hyping James Gunn’s new movie
  • The Blister! talk with actor Hideaki Itō and his replica Mustang (complete with a nod to Gone in 60 Seconds)
  • Seeing the One Piece actors again, especially Mackenyu and Emily Rudd
  • And the best part:
    Osaka Comic Con’s Guinness World Record attempt: the largest gathering of people wearing straw hats.
    A hall full of mini Luffys. I loved every second.

Osaka felt more intimate than Tokyo: fewer big crossover panels, more individual sessions, and more collaboration with Japanese performers. Same Comic Con DNA, different personality.


How Comic Con in Japan Compares to Comiket, AnimeJapan, Jump Festa

If you’re used to Japanese events:

  • Comiket = doujin paradise, structured chaos, volunteers, 300k+ attendees, regulated cosplay, pure fan power.
  • AnimeJapan = industry giants, announcements, business meetings, major studio booths.
  • Jump Festa = Shonen Jump world takeover.

Comic Con sits somewhere in between:

  • Less about pure anime/manga
  • Less about self-published works
  • More about global pop culture

It mixes Hollywood stars, anime tie-ins, idols, variety acts, and Western franchises in a way that only Japan would dare attempt… and succeed.

Where Comiket is participant-driven, Comic Con is a spectator event.
Panels, shows, stages; that’s where the magic is.


How to Survive Your First Tokyo/Osaka Comic Con

Treat this event seriously. You’ll thank me later.

1. Choose 1–3 anchor panels per day

Those are your non-negotiables. Everything else fills the gaps.

2. Leave time for the exhibition floor

This is where you’ll find the surprises: props, cars, pop-up stages, photo ops, record attempts.

3. Don’t skip the cosplay and side stages

In Japan, these aren’t “extras.” They’re part of the experience.

4. Wear comfortable shoes

Trust me. Your feet will hate you otherwise.


Final Thoughts

Tokyo Comic Con 2024 was my first step into the multiverse.
Osaka Comic Con 2025 was my second.
And the moral of the story is:

Japan doesn’t just host Comic Con. It remixes it.

Hollywood, anime, idols, doujin culture, international fans, Japanese chaos, and pure otaku passion all smashing together under one roof.

As a content creator, it’s overwhelming, exhausting…
and honestly?

Insanely addictive.

See you at Tokyo Comic Con 2025!