Tomorrow is the 18th annivesary of Ogiue Maniax. My little blog is all grown up now.
I believe 18 years is supposed to be the point where you look at your child and realize that they’re not the same person—or rather, website—anymore.
If Ogiue Manaix could vote, what would it decide? Sure, it’s entirely a product of my own output, but I wonder if it would hold certain ideals or approaches to the world that are stronger because they are housed within this structure of written posts that continue to vividly reflect where I was, where I am now, and where I might end up in the future. I can’t remember my earliest memories as a newborn baby, but I can look back and see what I was writing about in 2007, even if it might be a little cringey.
That’s actually something I’ve wanted to be part of Ogiue Maniax all along, though. If I do have beliefs and ways of thinking that have shifted over the course of almost two decades, I wanted to have that documented as well. I also recall all those people I’ve talked to online who mentioned that you will end up hating anime you used to love because your standards will have changed. I don’t know if the first part has happened, even though the latter definitely has.
Blogging for 18 years has been less about prestige and more about stubbornness. I don’t want to give it up if I don’t have to. It helps keep my heart in my fandoms, even as I add other things to it (e.g. VTubers) and my post rate drops further. I’m nowhere near enough to be considered a notable veteran fan of anime and manga, especially as I get a mere fraction of the readership I used to have. Though, I have gotten more hits lately for some reason. I chalk that up to not understanding how WordPress (or any other site) tracks visits anymore.
Is 18-year-old Ogiue Maniax now entering college and joining the Society for the Study of Modern Visual Culture? Will I actually change this blog again so that its template isn’t stuck in the past? Probably not, but who knows what the next year holds?
One of the ideas I keep revisiting over the years (and decades!) is a Super Robot Wars game focused away from Japan. It’s a thought exercise that actually predates this blog!
With the release of Super Robot Wars Y, I’ve once again started devoting actual mental and creative energy towards this idea. What titles would appear in, say, an SRW focused around the history of the mecha genre in the US? And how would the different plots and settings be reconciled into a (relatively) cohesive universe?
I asked on Bluesky if people were actually interested in seeing this bit of fan wankery from me, and more than a few people actually said “Yes,” to my surprise. So here we go.
Also, I was inspired by some ideas for others, such as the cool fanart by Chase Burns below:
I drew this a while back, and I will forever regret not adding the Mighty Orbots or Robot God Akamatsu.How many can you recognize? The tags will name three of them, but I'll leave the rest up to you.#superrobotwars #srw #pacificrim #megasxlr #lancer
In terms of criteria for titles, I wanted mainly to have works that either originated outside of Japan and was available in the West…or anime that were significantly altered to be their own thing, and became hugely influential in the process. So while anime is increasingly part of mainstream culture, things that reached North America relatively untouched don’t count for this sort of thing.
Working from this, I think the biggest title to focus the overall setting would have to be Voltron. In combining the two anime Golion and Dairugger XIV into Voltron, World Events Productions created the notion of a Voltron stationed far from Earth and close to Earth respectively, and this creates a good opportunity to divide the titles involved into “Far Universe” and “Near Universe” plotlines to kick things off. The idea would be that you would follow each side separately, and then the two would merge together down the road when the stakes are higher.
A lot of series take place in the future (albeit with different ideas of what the “future” looks like), so it’s not too much of a stretch to set them all in a vaguely advanced era of humanity. However, there are a few series I’d want to include that are specifically tied explicitly to certain periods—namely prehistoric times and the mid-20th century. For that reason, I’d place those works under “Time Displacement.”
And I’m leaving out Robotech because eh.
So here’s how I’d break down the above three categories.
Far Universe
Lion Voltron: The Galaxy Alliance is the main governing body in this SRW. The Lion Voltron is sent to protect from threats on the other side of the galaxy, and focuses on Planet Arus. This Voltron is special because of the fact that the enemy Robeasts are magical, which is actually pretty uncommon in this universe.
Transformers: This has to be G1 Transformers, and the appearance would focus on the series around Unicron and the animated movie and through to the return of Optimus Prime (because you gotta have the Autobot Matrix of Leadership as an ultimate attack, right?) Cybertron is under Decepticon control and so it cannot be part of the Galaxy Alliance, but the Autobots do help the Alliance out. Optimus doesn’t necessarily die, and Megatron doesn’t necessarily turn into Galvatron, depending on how the missions go.
Challenge of the GoBots: Unlike Cybertron, Planet GoBotron is part of the Galaxy Alliance. The Gobots are actually cyborgs—humans who converted their bodies to transforming machines—and they were inspired to take this path by the robots of Cybertron. In this setting, the Transformers have been fighting for a long time, while the GoBots are just now leaving for Earth.
Bionicle: I will admit that I don’t know much about this series, and would need help making sense of it. What I have so far is: Some (but not all) planets in the Sol Magnis System are part of the Galaxy Alliance. However, they tend not to interact very heavily with others. The legend of Mata Nui either directly or indirectly inspired a lot of other worlds to create giant robots.
Super Robot Monkey Team Hyperforce Go!: Planet Shuggazoom is also part of the Galaxy Alliance. However, various factors keep the other mecha from intervening in its battles normally. The monkeys do eventually become very fond of Optimus Primal from Beast Wars, however.
Mighty Orbots: The Galactic Patrol is one of the peacekeeping forces of the Galaxy Alliance, and Mighty Orbots was made to deal with threats that the Voltrons can’t get to. While based on Earth, they’re currently in the Far Universe to mount an offensive against Umbra. Unicron tried to devour Umbra but was actually repelled; the two don’t get along.
Near Universe
Vehicle Voltron: Defends Galaxy Alliance HQ on Earth. “Entrusted with the secret of how to form Voltron.”
The Bots Master: Ziv Zulander is a brilliant robot AI developer, and this attracts nefarious forces, including the Decepticons. Jungle Fiver is made because Blitzy is inspired by Mighty Orbots and Devastator, and Blitzy becomes friends with Daniel from Transformers. Characters from other series are very fascinated by the boost the BOYZZ get from “Laser Time.”
Sym-Bionic Titan: Actually not part of the Galaxy Alliance, and comes from even further away. However, their planet was visited in the past by Mata Nui, and helped inspire the combination of heart, mind, and body to combine as one (the technology is different from what Voltron uses.)
Megas XLR: Coop built Megas XLR in New Jersey, like usual. He is actually friends with Spike Witwicky as some blue-collar dudes. Thinks Ziv is a super genius, but doesn’t know him very well. He’s always getting inspired to put new weapons into Mega thanks to all the robot shenanigans going on, and this only grows when Near and Far universe plotlines merge. Evil Coop has to appear at some point, especially with the time displacement/time travel parts of the story.
Big Guy and Rusty: Big Guy was a hero who helped the fight against aliens and the Decepticons in the past. He fought for the US as part of the Earth Galaxy Alliance HQ. Ziv Zulander is very well informed about Rusty, but doesn’t know the secret of Big Guy. Rob Simmons from Mighty Orbots and Dwayne Hunter strongly suspect each other of being the Orbots Commander and Big Guy respectively, but haven’t explicitly confirmed it.
Pacific Rim: Jaegers were developed purely by humans back when other technology hadn’t been discovered, and they needed two people to pilot. The passing of the secret of how to form Voltron helped alleviate this and lead to other less dangerous possibilities, but Jaegers still remain the best defense against Kaiju in particular.
Gen:Lock: I admittedly don’t know anything about this series, other than that it has a lot of big names for voice actors and that it ended up disappointing pretty much everyone. However, I’d like to see it get the SRW plot fix treatment. While the series takes place on a dystopian Earth, I could see a world where it doesn’t get quite that bad because of all the other things going on. Here, the setting of Gen:Lock would take place on a part of the planet rather than the entire thing.
Time-Displaced
Dino-Riders: Yes, I am counting dinosaurs wearing armor as essentially giant robots. Originally, the Valorians were working together with the Maximals in the far future, but were flung back in time by a joint attack from the Rulons and Predacons. At some point in the story, they manage to fix the Step Crystal, but the interactions with the dormant Transformers in prehistoric times causes them to jump forward. Inadvertently, their effects on the past inspire the creation of the Dinobots.
Beast Wars: Because of their nature as Transformers, they don’t need to commandeer the local dinosaurs and other animals to fight. However, they’re still inspired by those forms. Maximals and Valorians work together on prehistoric Earth, and they form a real bond before they’re all brought forward into the future to meet Gigantor and the Iron Giant.
Gigantor:While Tetsujin 28 explicitly takes place in Post-WWII Japan, Gigantor is originally set in the “future year 2000.” However, for the purpose of this SRW, Gigantor still takes place in the relative past as an early attempt at building giant robots on Earth, and it still retains the plot element of being a weapon meant for destruction that instead becomes a protector of the peace. Big Guy is essentially a government project meant to replicate the success of Gigantor. The time travel vortex drags Jimmy Sparks and Gigantor along.
Frankenstein Jr: Frankenstein Jr. and Gigantor were built around the same time. Professor Conroy was familiar with Jimmy Sparks’s father, and began his work on Frankenstein Jr. to counter Gigantor. Jimmy and Buzz Conroy are glad they’re on the same side. The Impossibles are included, and are part of a specific attack that Frankenstein Jr. can use. They are not swept up by the time displacement, but build a time machine to actively chase after Gigantor, knowing that trouble is afoot.
The Iron Giant: When flying away as Superman, the warping of the space-time continuum causes the Iron Giant to sense a similar mechanical being in Gigantor (a robot made to be a weapon), and another sentient robot in Frankenstein Jr. This causes the Iron Giant to warp forward in time as well.
I’m Open to Other Ideas
Obviously this is all just a bit of fandom thought exercise, and nothing about this really matters. I’m also less familiar with some series, so any sort of feedback is A-OK by me. Heck, anyone who wants to use this as a base for their own ideas—or tear it to shreds and do something they find better—is welcome to take a swing.
Last month, All for One took place on August 23 and 24 at the iconic Radio City Music Hall. The third hololive concert also saw 15 VTubers in the Big Apple, but all was not the same. The past 12 months have seen the departure of four talents and the introduction of a new generation. Because all that has happened, the concert atmosphere conveyed an energy that was about, if not passing the torch, at least sharing the flame so that all may shine.
Overview
In terms of fame and seating capacity, Radio City Music Hall was a major step up from the King’s Theater in Brooklyn. That’s not a knock against last year’s venue, which was overall great, but if hololive EN wanted to send a message, this was certainly the way to do it. One other upside was the efficiency and courtesy of their staff. It was very clear that they were more than accustomed to dealing with large crowds, and none of the delays or long snaking lines that occurred last year were an issue.
One thing that was notably different compared to every previous hololive concert I’ve seen, English or otherwise, was that the setlists consisted entirely of songs from hololive. This was apparently a deliberate decision to highlight all the music that has been created under their banner over the years, and in that respect, they certainly succeeded. Whether it was people singing their own songs or earworms that have turned into Holocure BGM, there was a real sense of history for a company that is both still young and the grizzled veteran organization of this industry.
That said, I have to admit that I missed the anime covers and what-not a little. While I do write more and more about VTubers these days, I’m still primarily an anime fan at the end of the day, and I get a kick out of hearing virtual people bust out an opening or two.
All for One was also the first time an EN concert had all its performers in idol outfits. Before this, this was usually reserved for the annual big holo fes. Similar to the music, it does give a sense of unity, but I also enjoy seeing the regular outfits due to how unique they are. Maybe if they modeled the idol outfits to better match the bodies of the default models, I might feel differently. The other notable aspect about the visual presentation was the inclusion of lasers. They didn’t show up for every song, but when they did, it felt like Ideon launching all its missiles at once.
Lack of anime themes aside, in terms of song choices, I don’t exaggerate when I say that they managed to hit virtually every number I was hoping for. Baelz Hakos performing “Countach”? Hell yeah she did, alongside Gigi Murin and Indonesia guest Kureiji Ollie. “Start Again,” a song that features the top singers of every generation? It literally kicked off the second day. I know the setlist has at least some input from the talents, but however they decided to finalize it, I felt treated to one amazing moment after the next. The way they also mixed things up in terms of song order compared to the previous concerts was also refreshing.
Start Again
The Talents
While last year I wrote about each VTuber and their presence individually, I think All for One is better served by focusing on their generations and narrowing down.
Justice
The four ladies of Justice are the newest additions to hololive EN, and they debuted the 3D models that allow them a full range of motion only recently. All for One was their very first live concert, with all the pressure that entails. But one way or another, each of them showed a real spirit of performance.
Elizabeth Rose Bloodflame is one of the best singers to ever grace VTubing, and the strength and playfulness of her voice commanded attention, whether in her solo cover of “Stellar Stellar” or in group songs such as “Above Below.” Raora Panthera’s boundless energy was infectious, and she would do things like get in a little wiggle while disappearing off stage. During the big group numbers like the titular “All for One,” I even saw her do the monkey once, and also spin around while hopping. Cecilia Immergreen’s “Wind Up” has quickly become one of my favorite hololive songs, which she accompanied with a graceful dance, and a group cover of Aki Rosenthal’s “Shallys” saw her manifest her violin for a brief solo. Gigi Murin’s combination of brashness and silliness served her well, as her songs ranged from cool to comedic. While the latter three don’t have Liz’s vocal skills, they all work well with their limitations.
I also need to give attention to the MC part featuring CC and GG, as I don’t think I’ve ever been quite so entertained by one of those breaks. You could tell that they started from an absurd spot (GG carrying CC while on all fours) and then through improvisation naturally escalated it into anti-humor about stand-up comedy cliches and the inherent absurdity of their fan-favorite pairing name, AutoFister. Even thinking about it now, it still makes me chortle a little.
Advent
Returning for a second year, Advent is considered one of the newer generations of hololive, but they’re also no longer inexperienced rookies. Their mutual closeness has been one of their biggest strengths, and they have released the most group covers out of anyone, and are currently in the middle of releasing a whole series of lore-centric songs.
The first of those works, “Genesis,” came out a couple weeks before the concert, so I didn’t have my hopes up about getting to hear it live. Fortunately, I was wrong. This performance became one of the highlights of my weekend, and I especially love the way the song plays on each of their official back stories without sounding disparate or forced. Best of all, it’s in the free section of the VOD, so anyone can revisit it anytime.
Genesis
Like Justice, Advent has one particularly strong singer in Nerissa Ravencroft, who is versatile but is especially good at sounding sultry. One of her lines in “Genesis”—“Watch me be your diva/I’m gonna raise your fever”—leaves me actually feeling flustered, with her wide-swinging hips adding to her appeal. The twins, Fuwawa and Mococo Abyssgard, once again showcased their harmonization skills with each other and their thorough embracing of their personas. Diminutive Koseki Bijou appeared dedicated to showing that she has more than a cute side, with a surprising solo choice in Houshou Marine’s “Dead Ma’am’s Chest” and a group performance of another Marine song, “I’m Your Treasure Box.” As for their leader, Shiori, she continued a trend that started last year with her singing in a lower register that might seem uncharacteristic of her but sounds noticeably better, as well as conveying an almost nonchalant charisma that’s both graceful and awkward.
Promise
The girls of Promise have faced many challenges over the years. They had the unenviable position of following the powerhouse first generation, and if you count their past as Council, they also have lost three members over time—the most of any hololive generation. But their year has also seen some huge positive changes for them as IRyS, Ouro Kronii, and Hakos Baelz have worked to hone their crafts while being what I believe is less beholden to outside expectations.
IRyS went with “Diamond Girlfriend,” a song that is a culmination of a long and incredible journey that took her from wishing she could have her own Eurobeat song to collaborating with Motsu of Initial Dfame. But she also came full circle by singing “Gravity” with Towa and Kronii. She also sang it three years ago at Connect the World, but this different context brought it from a symbol of her “Project Hope” era to a defining song of hololive EN as a whole. With Kronii, meanwhile, the difference between All for One and Breaking Dimensions (or even 6th fes earlier this year) was like night and day. Neither singing nor dancing were her strong suits, but they’re increasingly a part of her repertoire, especially when you take into account the fact that Kronii lives outside of Japan, and thus away from the main hololive studio and its resources.
Then there was Baelz Hakos. She’s my favorite current hololive EN member, and this concert had me trying my damn hardest to not blink and miss any moment with her. The amount of training she has undergone to improve her physical fitness, her singing, and her already top-tier dancing is hard to overstate. The result was one unforgettable number after the next. There was the aggressive aura of “RxRxR” with Calliope Mori, her stylish dance moves in “Countach” (a song originally from her fellow elite hololive dancer Hajime), and Bae’s mind-boggling combination of nuance and dynamism for her solo “La Roja.” She even got to be the center for the encore performance of “All for One” to end the whole thing! I am eager to see more people learn about her.
For their group number, Promise covered “feelingradation” from ReGLOSS. This was another favorite of mine from this concert, not just because I really love the original version, but that the three just felt very cohesive as a unit. It’s also not lost on me that Bae sang not one but two Hajime songs; the Vroom Boom Duo is one of the hottest things to ever hit hololive.
Myth
As the generation that started hololive English, Myth are rightfully seen as pioneers. They celebrate their 5th anniversary this month, and a lot of All for One could be seen as giving props to them for laying the groundwork that has allowed the ones who came after to thrive. At the same time, they’re in a position similar to Promise’s in that they’ve been down two members thanks to Gawr Gura and Amelia Watson leaving in the past year. The complexion of their generation does feel different as a result, and adjusting to this “new” Myth has taken some time.
Temari
It’s pretty astounding how far they’ve come. Ninomae Ina’nis was the first solo performance of Day 1 with her original song “Temari,” and her voice has gone from cute and sweet to being capable of a haunting quality. Calliope Mori was originally all about defying expectations of what a VTuber should sound and act like, but has now become a mentor and even a standard of measure. Her music, her singing style, and even her dancing (which includes a surprisingly well done can-can) have all transformed over time, and the songs she was involved with at All for One cover that history well. The third Myth member, Takanashi Kiara, may have gotten the most love of all. Not only did she perform a short medley for her own solo and her original “Mirage” with IRyS and showcase her enticing dance moves, but Kronii also covered “Do U,” the kpop-influenced song that became Kiara’s first breakout hit.
Chimera
And as if to add to the fond reminiscence, their group performance of “Seishun Archive,” was a choice deliberately requested by Kiara because practicing for it was when she first really bonded with Gura.
Towards the end of Day 2, all three did an MC together, and it became a time to reflect on where they came from and where they’ve gone. While a part of me braces for impact when you see this much reminiscing, I think all of them have shown that they’ve come out of the last five years better than ever.
Guests
While none of them got their own solos, it’s worth discussing how much the guests—Oozora Subaru and Tokoyami Towa from hololive JP, as well as Ayunda Risu and Kureiji Ollie from hololive ID—put on wonderful performances.
Oozora Subaru’s “Hot Duck” and its lighthearted silliness contrasted with a breathtaking performance of Ayunda Risu’s “Alice&U.” The latter has long been considered a tremendously difficult song that was arguably too difficult for others to cover, but Nerissa and Elizabeth showed that they had the technical skill to knock it out of the park. Towa and Calli’s “Queen of the Night” is the best song from the MythMash series in my opinion, and getting to hear it live was wonderful. There wasn’t an Ollie-centric song during the event (which is very characteristic of her humility), but the zombie idol brought a welcome energy of excitement. A minor hiccup during Ollie and Shiori’s MC left us all literally in the dark for a few minutes, but this seemed to be more of a random mishap than anything else.
Miscellaneous
There was a whole bunch of ticket shenanigans that happened earlier this year when a bunch of fans tried to outmaneuver the scalpers but ended up making it harder for other fans to buy tickets. Over the weekend of Anime NYC, I saw people online and even at the convention center trying to sell off tickets for heavily discounted prices. While this was done with good intentions, I think one of the major failings was assuming that all fans of hololive are active on Discord or even use it at all.
Moving on from that, each night ended with a credits roll, as is typical. However, one funny thing for me personally is that I recognized the font used: Marker Felt Thin. So if you want to ever replicate the All for One credits, here’s your starting point.
My last unorganized thought is: Houshou Marine sure is popular. Even though she wasn’t involved with the concert directly, she probably got more songs of hers into All for One than anyone else, barring Kiara.
Overall
To say I was happy with how All for One turned out is a gargantuan understatement. I came out of it with my feet aching but my heart full. Despite all that transpired in recent memory, this was a really strong showing for the ladies of hololive English.
I benefited immensely from it being in New York at Radio City Music Hall, but I really wouldn’t mind it being somewhere else—even on a different continent. I want more people to have this experience, and I’m willing to settle for streaming tickets to give it to them.
Today is hololive VTuber La+ Darknesss’s birthday, and that has me thinking about her relationship with her fans. In a world that both passively and actively encourages talent and fans alike to fall into obsession, she rarely lets others dictate what directions to go.
I like watching new VTubers debut. Variety is the spice of life, and you never know who’s going to be a pleasant surprise. But I’ve also noticed something when looking at reactions to these reveals: There’s a certain kind of viewer who seems very eager to throw their full support behind someone or something. With just an initial introduction (or even less) to work off of, this type of fan behaves like they’re looking desperately for a conduit for their passion
This can be just another way of engaging with online personalities, albeit one that differs from my more hesitant “wait and see” approach. A forlorn heart might yearn to be recognized and have its intense feelings reciprocated, so having some kind of outlet can be healthy. The fact that this can turn into genuine feelings of attraction and affection can still be okay if there is recognition and understanding of the limits of this relationship.
Where it starts to get iffy is when someone either projects all their values and fantasies into a figure and fails to at least admit that this is projection, or when the eagerness to find a fandom turns into bitterness. That’s the point at which being parasocial becomes harmful, and I worry about both sides in these scenarios.
Some will play into this dynamic, but La+ has a bit of an unusual relationship with her viewers. She is herself an idol fan, and she has expressed empathy for those who have been hurt by an idol revealing that they have a significant other. She’s also a self-professed doutan kyouhi: a competitive fan who does not want to interact with others who share the same particular fandom. She knows what it’s like to be obsessed with someone…but she doesn’t actively seek to be that object for other people.
The way the holoX commander prefers to hold her fans at arm’s length has actually at times garnered her haters. They wish she was something she’s not trying to be, and the fact that she doesn’t conform to their desires bothers them. She’ll make connections outside of hololive in big collabs with people regardless of gender or genre. She’ll gush over Mai Shiranui from the Fatal Fury franchise, channeling the energy of fighting game fans who grew up in the 1990s and 2000s despite not being of that era. She’ll ask to be insulted by her colleagues in hololive with mature voices. She’ll even come up with an official name for her fans (Plusmates), but never actually use it. And when others talk about what La+ is like behind the scenes, they’ll mention how hard she works for herself, her peers, and her fans. That’s something I really appreciate about her: She does her own thing and appears to have a good time in the process.
La+ Darknesss prefers to act as a fellow fan who has the privilege of doing idol-like activities, such as singing and dancing on stage. In this way, seems to look at the fans who might potentially become her most obsessive and parasocial supporters, and says, “I get where you’re coming from, but I can’t be that for you. I can entertain you, though.” That’s just fine by me.
In July of 2023, I went to hololive English’s first full concert, Connect the World. I was grateful for the opportunity to be part of that milestone, and felt that if I never attended another event like this, I would have been content. Who knows if I’d be able to make it again anyway? Then June hit, and Cover corp announced a second concert right in New York City called Breaking Dimensions. It would be the first real-life concert for the third EN generation, Advent, bringing them together with their predecessors Myth and Promise.
Upon hearing the news, I had one thought: Even if I wasn’t able to get a ticket for any of this two-night event, I had to try. Thankfully, with some luck and a good friend on my side, I was able to see both days in person. In the end, I came away with immense satisfaction at what everyone at hololive, as well as the fans, created.
Changes from Connect the World
Breaking Dimensions took place August 24–25 and improved on its predecessor in virtually every way.
While I certainly enjoyed Connect the World and cherish the experience, it wasn’t without issues. For example, the immersion could falter at times due to what seemed like the quality of the video projection. At Breaking Dimensions, the setup was a lot more convincing, and it felt much more like I was really watching VTubers on stage. I even got to see it from very different seats between Day 1 and Day 2, and they maintained the illusion in both cases.
Connect the World was also a bit regimented in terms of its setlist: group songs purely by generation, individual performances also by generations, and a few big numbers. Compared to the major holo fes concerts in Japan (the biggest live events for the company), there were no interesting talent mixes. Breaking Dimensions fixed all that and more, featuring various duos, trios, and even quartets that had me cheering out loud. Whether it was fan-favorite combos or new experiments, the whole thing was full of pleasant surprises.
The only downgrades from the first concert were the lower seating capacity and the one-hour delay that occurred on Day 1 due to long lines (despite the fact that all seats were assigned). The Kings Theatre can hold about 3,000 people, and over 20,000 tried to get in when tickets first went on sale. I suspect this has to do with the fact that New York City is not a good place for mid-sized venues; you either do something like this or you have to go all the way up to Madison Square Garden/Barclays Center, and the latter locations are not cheap. And one upside of the Kings Theatre is that it’s gorgeous. I saw fans considering dressing up to match, but the summer heat put the kibosh on that idea for the majority of concert goers.
And while this isn’t a problem with Breaking Dimensions specifically, I do wish the colors in the penlights were either more saturated or labeled. As someone with a bit of color blindness, I struggled sometimes with switching between colors, especially when it came to purple vs. violet. There were definitely a few great choreography moments I missed or caught only glimpses of as I struggled with the penlights.
The Concert Was Simply Great
The whole show fired on all cylinders from start to finish, and by the time I was done, I had absolutely zero regrets about going (despite what my wallet might say).
I’m serious when I say that it had too many great moments to count, so much so that I decided that the next best thing is to give my thoughts on every talent one by one in the hopes of capturing enough of the finer details. I want to give them the respect they both earned and deserved, as VTubers and as people.
Below are my thoughts on each EN member, in order of their first solo appearances. Following that is a section for the guests from hololive Japan and Indonesia.
I also want to reiterate an important point I’ve made in the past about these large group hololive concerts: While there are certainly individuals involved who are exceptionally skilled at performing on stage, it’s not a prerequisite or even necessarily a desired expectation from their fans. hololive is in many ways similar to an idol or music company, but it is not actually either. Sometimes the reward is just getting to see them stand in front of the bright lights, basking in being these identities they’ve built up for themselves.
hololive EN
IRyS
When IRyS appeared as the first solo act on Day 1, there was little doubt as to what song was coming. She had just released her first original in about a year and a half, and this was the perfect environment for it. “Carbonated Love” is a Eurobeat tune directly inspired by the soundtrack of Initial D, and with IRyS being among hololive’s very best singers, my anticipation was sky high.
Her performance was everything I wanted. IRyS generally sounds even better singing in person than in studio-produced tracks, and her melodic voice pierced through the venue, never wavering in its crystal-clear beauty. The addition of some mildly daring gyrations also sent the crowd into a tizzy. And fortunately for everyone, IRYS is in the free section on YouTuber, so everyone can see her in action.
Later group acts on “High Tide,” “Promise,” and “Blue Clapper” (the last of which was with her fellow CHADCast members + Koseki Bijou) benefited immensely from IRyS’s vocals. No matter what song she was on, she sent shivers up my spine in the best way.
FuwaMoco
As the only twins in hololive, FuwaMoco are generally in a unique situation compared to the rest of the talents, including sharing a Youtube channel. At Breaking Dimensions, neither got a solo performance, but they did have two duets: their original song “Born to Be ‘BAU’DOL” on Day 1 and a cover of “SHINKIRO,” the city pop tribute originally by Houshou Marine and Gawr Gura, on Day 2. The contrast between the peppy cuteness of the former and the wistful melancholy of the latter showed off their versatility, especially because Fuwawa and Mococo sing differently and have to find the right approach together in each case.
This was also Advent’s first IRL concert, and it was great having them in all their glory on the big stage. FuwaMoco’s ability to harmonize with each other is unlike anything else in hololive—the clear product of continuous effort and a life at each other’s sides. Their performance of “Doggy God Street” with Korone and Kobo (humorously called “Wet Dogs,” “Dog Water,” and other similar nicknames) also brought some welcome lightheartedness.
I wonder if we’ll see FuwaMoco split up for some songs in future concerts. Either way, the idol journey of the guard dogs will be something to look forward to.
Shiori Novella
Witnessing Shiori move in three dimensions has been one of the biggest surprises of Advent. One of the fun things about seeing VTubers get their 3D models is learning their body language and movement, but the other Advent girls have acted more or less as expected: FuwaMoco are great at idol dances, Bijou is jumpy and energetic, Nerissa is poised. Shiori, on the other hand, was hard to pin down.
Between her 3D Showcase and her appearance at Breaking Dimensions, what has become very clear is that Shiori possesses remarkable physical charisma. She’s not a great dancer or athletically impressive, but it’s like she makes every move count ten-fold. Similarly, while her singing is inconsistent, she does decently at her lower registers. Shiori’s solo (“world.execute(me)”) and her song with Kronii and Ina (Tokoyami Towa’s “FACT”) show this well. And her number with Fauna and Nerissa (“Lonely in Gorgeous,” the opening to Paradise Kiss) is one of my favorite performances of the entire concert.
Ouro Kronii
Kronii is known more for her speaking voice and acting skills than her singing, but she was able to not get lost in the shuffle. Having listened to her at Breaking Dimensions, one interesting thing about the Warden of Time is that despite having a fairly deep voice, she actually sings better at higher notes. In that sense, she’s sort of the opposite of Shiori (though I assume it’s just coincidence that their MCing was so unhinged).
It’s no secret that Kronii has a very loyal audience who loves to see her move on stage, but I myself found that she brought some nice flair to her dancing and singing, especially in her solo cover of “Bocca della Verità.” The contrast between her cringing at corny things but willing to throw caution to the wind only makes her stage presence stronger. Kronii’s group performances—with Kobo and Korone, and then Ina and Shiori—are notable for how her “cool” persona provided a different kind of balance in each trio.
Takanashi Kiara
As the best dancer in the 1st gen, Myth, and an experienced hand at performing in general, Kiara always seems comfortable when the spotlight’s on her. Her choice of “Pineapple,” a summery pop song from her album Point of View, let Kiara show a different side of herself while still emphasizing her status as the consummate idol of hololive EN—especially coming off of her world tour performances the Friday before.
One of the biggest cheers in the entire event was when Kiara warped in along with Calli, which only grew louder as the audience realized they were going into their group song, “Fire N Ice.” Playing on their respective motifs of blazing hot phoenix and chilling grim reaper, their performance highlighted two major things: 1) their clear improvement in singing and dancing these past four years, and 2) how truly special the TakaMori pair has become. Sure, it was hololive EN’s first major ship and for that reason still has many dedicated fans, but it’s developed into something much more powerful: close friends who respect each other and have each other’s backs through thick and thin.
Ceres Fauna
Fauna recently released a video short talking about how she joined hololive without knowing how to sing, and that she’s made many missteps up till now. Indeed, it’s true that singing still isn’t one of her strong suits. But despite her limitations, she still managed to draw me in.
First was the debut of her new song with Mumei based on their goth and emo outfits, appropriately titled “It’s Not a Phase.” Second was her solo—a cover of city pop classic “Mayonaka no Door/Stay with Me” where her gentle voice gave it a soothing quality. And as for “Lonely in Gorgeous” with Shiori and Nerissa, Fauna contributed a delightfully haunting quality to one of my favorite performances.
Gawr Gura
Gura, one of the icons of VTubing, is known for her love of Hatsune Miku, and her childhood dream of being on stage like her Vocaloid idol someday. Naturally, Gura has tended towards Miku covers for her real-venue performances, but Breaking Dimensions felt like a real “she made it” moment as she sang Miku’s most iconic song, “World Is Mine.”
Gura has two general modes of singing, and she weaponizes them to great effect: smooth+soulful or smug+bratty. She used the former in her “Bibbidiba,” while her cover of “IDOL” from Oshi no Ko with Amelia Watson was the latter. Her rendition of “World Is Mine” leaned towards cute but incorporated both styles, accentuated by the song’s signature high-pitched yells and Gura’s own adorable dancing with lots of tail-wagging antics.
Every appearance she made sent the crowd into a raucous frenzy. Truly, Gura is the queen of hololive EN, whose singing makes you feel like they’re the only person in the room with her, even if you’re in a packed theater.
Baelz Hakos
The chaos rat has become synonymous with top-tier dancing in hololive. I knew that much, coming into Breaking Dimensions. I thought I was prepared, but I wasn’t. She took me for a loop in every performance, especially her solo.
Bae released her first album this year, with each track based on an animal from the Chinese zodiac. Her solo choice, “GEKIRIN,” is written from the perspective of an ancient and prideful dragon. As if to embody that image on stage, Bae coiled and flowed elegantly like a heavenly serpent, occasionally unleashing powerful moves bursting with fire and fury, all while delivering on the singing. The subtleties of her performance could sometimes be hard to see in the crowd, so the online audience had certain advantages.
As for what’s next, I have my predictions. Given that the fourth English generation, Justice, has a lot of appeal towards Europe, I think the next big concert is going to be in either London or Paris. I don’t think I’ll be able to attend that one, but I’ll be happy to cheer from home, and hope that others will get the opportunity to have as good a time as I did at Breaking Dimensions.
In a later stream, Bae mentioned that the choreography for “GEKIRIN” was not of her own making, and that she was even a little daunted by the sheer difficulty. But the choreographer said to her, “I know you can handle it.” I think that sheer dedication and ability to push the envelope of what is possible in VTuber dance is something truly special about Bae.
An aside: On the morning of Day 2 before the concert, I was wondering what song she would pick, and I actually predicted that Bae would perform “GEKIRIN” from ZODIAC. Because I got her song choice correct, I decided that evening to see if fortune was in my favor and went to play the lottery. As for how it went, there’s a line in “GEKIRIN” that goes, “Oh, you humans so naive and desperate/Enough to think that luck and fate have favorites.” It was a lesson I learned the hard way.
Amelia Watson
I cannot emphasize enough how far Ame has come as a singer. From one karaoke stream to the next, and with each concert, you can literally hear her improve—a far cry from the days where she basically got by on vibes.
The idol side isn’t her wheelhouse, but the ways in which Ame was celebrated at Breaking Dimensions really struck a chord with me. She participated in a cover of “Puru Puru Pururin”: a callback to her debut 3D appearance at hololive 3rd fes. This time, she was accompanied by FuwaMoco and Koseki Bijou, and it made me realize that we’ve gone long enough with Myth that these returns to old songs actually feel kind of nostalgic. It didn’t come across as a retread either, specifically because she was joined by two of the biggest champions of mid 2000s online anime fandom, as well as a perpetual meme lord. Ame’s cover of Nekomata Okayu’s “Mogu Mogu Yummy” was also a great way to chill out, and it’s also in the free section on Youtube!
Ame’s reappearance towards the end of Day 2 made for one of the most exciting moments throughout the weekend. Seeing her distinctive yellow star appear, realizing she was about to start singing “IDOL” from Oshi no Ko, and then seeing Gura emerge from behind her led to such a rush of emotions in me. The roar of the crowd (one of the loudest across both days) made it clear that my fellow audience members agreed. I also noticed the fact that our resident detective was able to rap in Japanese—no small feat.
Koseki Bijou
The short-statured gem girl affectionately known as Biboo is more famous for her musical memes than her actual singing, and sure enough, she engaged in her most famous cringe earworm, “Sticking Out Your Gyatt for Nerizzler” in one of the MC sections. But even in the actual song performances, Biboo showed up and put herself out there.
If there’s one thing that Biboo’s performance communicated about her, it’s that she appears very comfortable with the prospect of being in front of thousands of fans. Either she’s a brave soul or she’s very good at pretending to be one, but the result is the same. Her choice of a more serious song in Hatsune Miku’s “Love Is War” showcases her willingness to take risks and to play into the chuuni parts of her personality. And in “Blue Clapper,” she didn’t feel out of place at all with Calli, Bae, and IRyS despite the fact that those three have been an established trio (the CHADCast) for a long while.
Ninomae Ina’nis
Over the past year or so, I’ve felt that Ina is on the cusp of really breaking through as an exceptional singer. That characteristic low-energy voice of hers can give her songs an ethereal quality, and it feels as if she only needs a little more refinement to take it to the next level. Ina performed a cover of “Synchrogazer” (the first Symphogear opening), and she demonstrated that she’s able to carry a song and give it a feel that emphasizes those unique aspects of her.
In the group songs, namely “Beyond the way” and “Bibbidiba,” her quieter approach also helped provide a bit of contrast with the other singers. While the Ina-Kronii-Shiori trio had none of hololive’s heaviest hitters in song or dance, it was still very memorable because they’re somehow aesthetically in the same general direction while each being very unique.
Nanashi Mumei
I still don’t quite grasp how Mumei sings the way she does. The way I often describe her is that she sounds like what other people get if you apply a ton of pitch correction and autotuning to them—except Mumei does it naturally. Or it’s like if you tried to trick Mumei into attempting to imitate an AI singer, only for her to beat it at its own game and then some. Alongside the fact that she can also go deep (as heard previously in “Mind Craft” and in the “Breaking Dimensions” song), you have one versatile songstress.
While many others went with newer works in their catalogs for their solos, Mumei actually sang her very first original, “A New Start.” Because it’s from early on in her hololive career, I think the single itself showed only a fraction of what Mumei is capable of, and the Breaking Dimensions performance highlighted the fact that Mumei has only grown more skillful and expressive. This also came through in “Beyond the way” with fellow birds Kiara and Nerissa.
The stand-out moment for Mumei came in the reveal of her original 2000s-era-inspired goth-emo duet alongside Fauna, “It’s Not a Phase.” She was very good at balancing “Haha silly joke” with “No, I’m as serious as a dark abyss” while making both sound good. As the stronger singer of the two, she helped keep the two sides cohesive.
Nerissa Ravencroft
As the singer of Advent, whose character is premised mainly around the forbidden power of her voice, I think there was a good deal more pressure on Nerissa for her first IRL concert. Even the namesake song, “Breaking Dimensions,” features her in a unique fashion as she harmonizes with the chorus other members sing. But I think she lived up to her reputation and lore here, and even danced remarkably well for someone who literally has a metal rod down her spine due to health issues. Whatever limitations this might impose, Nerissa worked around them very well.
Nerissa’s tune of choice for her solo was “Sweetest Scarlet,” which she also sang for her 3D debut. While it would have been great to hear something different for variety’s sake, I think having it done in front of a live crowd changes a lot. At times, it almost felt like she could pull in the entire audience into her embrace with her sultry notes. And whether she was the power singer in the holotori EN trio’s performance of “Beyond the way” or the central pillar for “Lonely in Gorgeous” with Shiori and Fauna, Nerissa was an important part of making those songs land effectively.
Calliope Mori
Calli has had a hell of a year, even recently landing on the US’s Billboard Top 100. Her commercial success is admirable, but what really jumped out at me during the concert was just how much her singing has leveled up. She’s been transforming from a primarily rap-centric performer to equal parts singer and rapper, and the fruits of her labor are showing in spades.
“Go-Getters” might be my favorite song she’s ever done, and part of it is that her vocals can keep up with the ambitiousness of the song. There were points I felt like she might not have the power to deliver on some sections, but she always pulled through. Similarly, I could hear in “Blue Clapper” the greater consistency she developed. And with “Fire N Ice,” her gruffer voice balanced out Takanashi Kiara’s well and even sounded better than the original recording. It also didn’t hurt that TakaMori’s choreography was spot-on.
Calli’s victories are not just in accolades but also real improvement. You love to see it.
JP AND ID Guests
Hoshimachi Suisei
Suisei showed up on two songs, including her record-smashing hit “Bibbidiba” with Gura, Ina, and ID’s Moona. While it’s hard to pick a single best singer in hololive, Suisei is definitely a contender while also being nearly unmatched in terms of mainstream recognition for her music. What isn’t as clear is that she can keep up dance-wise as well. Her star power was undeniable, as every time she came in with her rich voice on both “Bibbidiba” and “High Tide,” the audience’s cheers would grow ever stronger.
Kobo Kanaeru
I truly feel that Kobo is one of the most well-rounded VTubers, with even greater success only limited by the fact that the Indonesian language is not as ubiquitous as English or as anime fan–oriented as Japanese. A big part of her potential for stardom is her immense singing ability that transcends cultural barriers, along with her peppy dance moves and air of confidence.
For Breaking Dimensions, she sang “HELP!!,” one of her originals and also one of my favorite songs as of late. It was actually the second time she performed it that weekend, thanks to her appearance on the hololive World Tour at Anime NYC. The big difference is that whereas the world tour rendition was a solo, this rendition was as a trio with Kronii and JP’s Inugami Korone. The other two aren’t the singer Kobo is, but it was still an enjoyable experience seeing them all together.
Inugami Korone
Korone brings an energy that few if any can imitate or duplicate. While she didn’t bust out any athletic feats for her original song “Doggy god’s street” or “HELP!!,” her attitude on stage shouted, “I might not be the very best, but I belong here and no one can tell me otherwise.” It was like the world conformed to her existence. While she didn’t perform with Koseki Bijou, I actually think they’re made of similar stuff.
Moona Hoshinova
Moona appeared for both “Bibbidiba” and her own original song “High Tide.” Unlike her past performances of the latter, she was joined this time by IRyS, Bae, and Suisei.
I believe Moona has the best balance between singing and dancing in all of hololive, and exudes more “diva” energy than anyone else. That’s why having two of the strongest vocalists and arguably the top dancer in the company worked so well for “High Tide.” The body rolls, the powerful notes, and the high performance rate from the quartet was one of the brightest spots in a concert event rife with highlights.
Big Group Songs
There were five big group songs over the course of Breaking Dimensions: one for each of the three generations, a big finale both days, and then different encores for each concert.
Myth’s song, “ReUnion” is an okay track that ended up hitting a lot better in front of a live crowd. Promise’s, aptly titled “Our Promise,” has a “grand adventure” motif that sounds lovely but left the crowd a bit confused as to how to chant along because it just isn’t that type of song. “Rebellion,” the debut song for Advent, strikes the best balance, and it was perfect for the stage.
I must admit that I was listening to “Breaking Dimensions almost nonstop in the lead-up to the concert. I love the way that it emphasizes the particular qualities of each generation—Myth’s trailblazing through the unknown, Promise’s unity in the face of tumultuous times, and Advent’s mold-breaking while standing on the shoulders of their predecessors. One big treat with the two concert performances is that you could see them change things up a little compared to the music video. The chorus sections were sung by all 15 girls instead of sets of 5. Bae changed up her moves during the choruses from body rolls to more of a sway with a head bob. Biboo went from staying in position for her rap portion on Day 1 to walking around a bit on Day 2. And Ame, who strikes the final pose a split second later than the others (to cute effect), actually got the timing right for both days. I cheered especially for her tiny victory, and I wondered if others did the same.
For the encores (“Connect the World” on Day 1 and the English version of “Our Bright Parade” on Day 2), it was fun seeing and hearing these symbols of hololive EN’s continued success.
Final Thoughts
I try my best to reflect on what I see with a positive perspective without just spouting unalloyed praise, yet I know much of this review sounds like I’m gushing. I truly do think very highly of what hololive accomplished here, and attending it is one of my favorite experiences in the past few years.
Since Connect the World, my opinion of hololive has only gotten better, and I find myself paying attention to so many more talents. That’s not even simply because they’ve literally debuted multiple generations, but because they manage to thread the needle between feeling both very personal and highly professional. The Breaking Dimensions concert really puts this balancing act on full display. It’s like each member gave the audience a solid peek into their various journeys, ones whose paths diverge and intersect over and over. And the fans reciprocate, helping to make these VTubers feel like the superstars they are.
PS: I spotted my support message on the screen while waiting for the concert to start:
I can count on one hand the number of times I’ve been to Japan, and every stay has been memorable in the best ways. However, there’s was always one item on the bucket list that I could never quite fulfill: going to Comic Market (aka Comiket), Japan’s—and likely the world’s largest comics-related event in the world.
That’s now changed. In an adventure that felt like nearly two decades in the making, I am proud to say that I am (technically speaking) a Comiket veteran.
My Feelings Going In
Comic Market 103 catalog and industry booth pamplet
I’ve read a lot about and related to Comiket over the years. I’ve had friends and acquaintances tell me about the times they went and the money they burned. The event also looms large in my favorite manga, Genshiken—scenes such as Sasahara losing every inhibition his first time attending, Madarame breaking his hand but choosing to try to stay anyway, and an incognito Ogiue spilling her BL all over the floor are all downright iconic. But I’ve also seen comments that the event is some combination of overrated and overhyped, so I wanted to make sure I came to Comic Market 103 with expectations that were neither ridiculously lofty nor blatantly unfair.
A classic cautionary tale is that of the anime fan who gets disillusioned upon visiting Japan, because they had previously been viewing the country and its culture through the inherently distorted lens of anime. My first time there, I was prepared for everyone I met to actually dislike anime because I didn’t want to make that mistake, only to have a different experience. While Japan wasn’t quite like my animes, it was also not that far removed, and I could still appreciate it as a fan. I approached Comiket with all this in mind.
Downside
I want to start by laying out some of the negatives I ran into.
First and foremost, there were no Genshiken doujinshi, as far as I could tell. Boooo.
Second, getting to and from the venue, Tokyo Big Sight, can be an ordeal—especially depending on what time you decide to travel. On Day 1 (of 2), I ended up in a classic sardines-in-a-can situation in the morning, had to wait in line for about two hours before I could actually get into the exhibition space, and made the mistake of staying to the very end. In that last instance, it meant that a walk back to the train station that should have taken five minutes ended up being about an hour. Comiket is literally the most highly attended comic event in the world, and the approximately 30,000 circles (i.e. doujinshi vendors) would itself be considered a large convention. When you have to walk back with that many people, the pedestrian traffic jam is intimidating.
I was very fortunate that, despite Comiket taking place in late December, the weather was surprisingly pleasant. Had things not been so nice, the wait (and my overall experience) might have been more miserable.
Third is that there is very limited time to get anything, and nothing is guaranteed. A small fraction of tickets are for early entry (the doors open at 10AM), and are sold at a premium while also being lottery only. Otherwise, most people (including myself) have regular morning or early afternoon entry tickets, and can only get in later. On top of that, each day ends at 4pm, circles typically are there for only one day, and the most popular artists (especially the 18+ ones) will have massive lines. For example, I tried to get something from Mika PikaZo (character designer of Hakos Baelz and Fire Emblem Engage), and ended up going through three lines only to discover she had sold out of everything. There is a serious sense of FOMO that can make the losses sting—if something is popular, you basically have to impulse buy, or else it might be gone.
But This Is Accounted For!
There may be inevitable issues at Comiket, but that’s all the more reason I have to commend the staff for their excellent organization and crowd control. While things took time, they still progressed smoothly. And once inside, the crowds were not difficult to manage—about comparable to a large-ish anime convention. This is also owing to the attendees and circle members themselves, both of whom generally tried to follow the rules. On a few occasions, I had inadvertently blocked one table while looking at the content of another, and was asked to avoid doing so in consideration of others. The sense I got was that a lot of people involved, be they staff or otherwise, were very familiar with both Comiket and Tokyo Big Sight itself.
Something that helped with the crowds was that halls could open up to the outside, which prevented massive lines for certain artists from clogging up the aisles. I heard from a friend that this seems to have started since 2020 as a COVID precaution, and that this is an added side benefit. There’s a chance I might have felt somewhat differently if the weather hadn’t been so good, but I would have appreciated the improved ventilation regardless.
And as for FOMO, it turns out that a lot of artists sell their stuff in stores after the event, in places like the popular doujin shop Melonbooks. So not all hope is lost (though for buyers outside of Japan, you likely have to spend more on shipping fees and third parties).
What this all means is that negatives do exist, but they are accounted for and mitigated to a decent degree.
Upside
My haul
Although Comiket is not perfect, it’s still a great event that showcases what makes the otaku spirit special. There are drawbacks to being so massive, but the sheer amount of stuff both ultra popular and extremely niche, all in the same space, is a sight to behold.
The biggest categories this year were VTubers and various mobile games (or at least mobile game–adjacent works). But even if you’re into none of that, there’s still a chance you can find creators with which you share a common interest—and that’s even putting aside the 18+ stuff.
Here is some of what I ran into over the course of two days.
Srungle fanfiction
Guides to NYPD call signs and insignia
Illustrated food guides
Andy Hole x MIX from Aquarion EVOL in the year 2023
Original mecha drawings
Pilgrimage guides for fans of particular franchises
A book dedicated to events for Kawamura Maria, the voice of Naga from Slayers
Guides to bootleg ZOIDS
Cure Precious x Black Pepper Precure het shipping
Illustrated collections from actual VTuber character designers/collaborators
Cosplay model photo collections
Initial D BL
Yotsuba& parodies of Zambot 3 and Daitarn 3
Both het and LGBT Gundam: The Witch from Mercury shipping
Literally Sonoda Ken’ichi
It might be easier to find smaller events throughout the year that are hyper-focused on your particular interests, but nowhere is the sheer diversity of fandoms more on display than at Comic Market, even if certain specific titles dominate the majority of the physical space. It’s wonderful.
Vs. Conventions
The sense of discovery at Comiket is second to none, and I can’t help but contrast it with anime conventions in the US. One of my biggest problems with artist alleys is that it’s hard to find fanart of more obscure titles. This is because con tables are expensive (Otakon is $375 USD as opposed to Comiket’s 8000 yen, around $60–$80), and artists tend to display what’s most popular, probably out of the need to recoup the expenses. It’s not impossible, but sussing out the weird stuff involves going through artist portfolios or asking, which can be awkward or time-consuming. On the other hand, because Comiket tables are generally grouped together by interest, and their specific interests are front and center, you can know at a glance what to expect.
The hololive booth
There was an industry presence at Comic Market 103, but it was much smaller than the space dedicated to doujin works. This is actually the opposite of American conventions, where the official booths and merch usually take up the majority of floor space. One thing I found interesting is that most of them, more than being manga-related, were more otaku-focused. That is to say, they were properties that attract hardcore dedicated fans—things like VTubers, Love Live!, The iDOLM@STER, mobile games, etc. One interesting presence was a booth for My Youth Romantic Comedy Is Wrong, As I Expected, which is celebrating its 10th anniversary. I saw quite a line for merch there, and as a fan of the series, I’m glad to see it get some real love.
Another difference is that con-style panels and talks, be they fan-run or professional, are non-existent. They’re typically one of my favorite things, so their absence is a tad disappointing, but I also already knew that would be the case. All this goes back to time being a precious resource. No one really lingered or tried to socialize either, and the fact that the food truck lines were short (unlike an anime con) encapsulated one important fact: Attendees had priorities, and only a few hours to get what they wanted.
Overall Thoughts
Comic Market isn’t really one fandom, but rather dozens side by side in the same space. This approach has its strengths and weaknesses, and both are magnified by the sheer size of the population attending it. But while there are disparate groups, they all have the same general goal of finding the books that resonate on a personal level, and I think this gives the entire event a certain focused energy.
At the Osaki train station, one of the transfer points to get to Tokyo Big Sight, there was a chalkboard sign both welcoming people to Comiket and thanking everyone on the way back, depending on which direction you were coming from. It’s a small gesture in the grand scheme of things, but this double-sided sign’s presence really hit home for me the fact that the majority of hardcore fandom in Japan descends on a small strip of land.
I can’t say if this should be the first doujin event a person should visit, and it might not even be the best choice, depending on what one values. However, I can personally say that I had a great time, I’m happy to have done it, and if the stars align, I’d be more than willing to go again.
Kio Shimoku, author of Genshiken, is a fan of Star Wars. He even contributed to a Star Wars art anthology. Recently, he finished the first chapter of a genderbending fan parody called Sister Wars, which is based on Episode I: The Phantom Menace. Kio has the full chapter up on Pixiv.
The story of the creation of Sister Wars is like a low simmer. Some years ago, Kio quietly participated as a vendor at a Comic Market, where he sold copies of his rough manuscript for Sister Wars. This was relatively unknown, until he did an interview with Nijisanji VTuber Luis Cammy and briefly discussed its creation. Later, he mentioned it in passing in the above-mentioned anthology.
But then, in 2023, Kio announced that he would begin the process of actually bringing Sister Wars to life, and started posting full-color pages to Twitter.
It’s uncertain if or when he’ll get around to completing it, but I’m thankful that Kio is continuing to create.
Concerts are normally not my thing. I’ll attend them at anime cons as an extension of my greater fandom, but I typically don’t travel specifically for music events.
That all changed with Hololive English’s inaugural live concert, Connect the World. Well, sort of. Attending a Virtual Youtuber concert can be viewed as a natural consequence of being an otaku, but it’s also akin to seeing a KPop and J-Idol group. Either way, my fondness for the stars’ antics outside of musical performance was just as much a motivation to see them as the concert stuff. And as the very first Hololive concert to be held in the US, I felt that I had to at least try to go. I might never have such an opportunity again, because as much as I’d love to attend the Holo Fes events in Japan, it’s just not realistic for me.
So with a bit of luck and perseverance (and lots of angry cursing at Ticketmaster), I managed to secure myself a ticket and a pretty decent seat. Fast forward a few months later, and there I was with penlight in hand, cheering alongside 5,999 other Holo fans. It was a fantastic overall experience, and I’m grateful to have been a part of this moment in VTuber history.
Summary
Connect the World began with a message in English from A-chan, whose role in Hololive can be described as the ultimate behind-the-scenes pillar. A central figure in the development of Hololive from its humble beginnings, she has garnered a fandom of her own that made itself known through enthusiastic cheers. The concert then went into full swing with a full-roster performance of the Hololive signature theme “Shiny Smily Story,” followed by ten individual performances from the EN girls, two guest numbers by reps from Hololive Japan and Hololive Indonesia, three generational songs, the titular “Connect the World,” and then an encore with “Kirameki Rider.”
Unlike later Hatsune Miku concerts with full-on 3D holograms, this was done with a flat projection screen and additional monitors on the side—similar to what is done even in the Japan events. So it wasn’t the fully immersive experience one might expect, but I think part of the “live” feel actually comes from being shoulder to shoulder with one’s fellow fans. In other words, we help make it “real” just as much as the VTubers.
The Opening Acts Were Made for Me
I feel incredibly blessed that the first couple of solos were by two of my favorites in EN. The first, Hakos Baelz, is nearly undisputed as the best dancer in Hololive EN (as well as being one of the strongest in Hololive as a whole), and I couldn’t help but be drawn to her as she killed the dance floor. Even basic movements, like swaying left and right during “Shiny Smily Story,” carried a sense of poise and confidence when executed by Bae, and she continued that same spirit into her original song “Psycho.” Almost as impressive was her singing, which possessed a powerful throatiness that I enjoyed a lot and fit the song well. Someday, I’d love to see her more energetic movements alongside the amazing rhythm and fluidity of fellow dancer extraordinaire La+ Darknesss.
I’ve read people’s complaints about how the camera work didn’t do Bae’s self-designed choreography justice, and I can sympathize. Seeing it live really drove home how beautifully she moves, and I feel fortunate to be among those who could witness it straight on and uninterrupted. That being said, I feel like the criticism of the camera can be overly harsh, not only because I think it has its moments but also because the approach taken is meant to play it safe. In other words, it’s better at hiding flaws than accentuating strengths—sometimes it works, and sometimes it doesn’t.
The second star on stage, Amelia Watson, went with her first and only original song, “Chiku Taku.” For Amelia, neither singing nor dancing have ever been her strong suits, but part of the joy of witnessing Amelia on stage is in experiencing her energy and seeing the strides she has made with respect to the “idol” aspects of being a Hololive VTuber. The highlight for me was the kicking motions in her dance—what I’ve since learned is ska dancing, or “skanking.”
Having both of the above performances be in the free YouTube preview works out in my favor, as it means I get to revisit them as much as I want. The fact that Bae was also part of the free preview at the Holo 4th Fes Deco*27 stage makes me think that they know full well what a draw she is.
Other Favorites
One stand-out moment was IRyS’s “Gravity,” which is my favorite of her originals, as well as one of the Hololive songs I love most. I was happy to hear IRyS herself say that she’s partial to “Gravity” as well. The song just accentuates her talents as a vocalist, especially because it has that illusion of effortlessness that only comes when someone is immensely skilled at something. I feel like I achieved something just by hearing it live.
Later when the EN girls did their group songs, IRyS actually ended up with another solo performance just because she’s technically a generation unto herself. This has led to multiple jokes from fans and from IRyS alike—“Who do you like more, IRyS or IRyS?” Incidentally, prior to the start of the concert, I was chatting with a friend about her, where I mentioned wanting to hear “Gravity,” and in response, he said that he really wanted her to sing “Caesura of Despair.” That just so happened to be her second song, and while we had no actual say in the song list, it’s fun to pretend that we willed it into existence. Between both tunes, they really show off the crystal clarity of IRyS’s voice.
I expected that we’d get some surprises at Connect the World, but I didn’t expect the debut of two new original songs, one by Gawr Gura and the other by Ouro Kronii. Truth be told, I don’t listen to enough Hololive songs to always know what is a cover, what is an original, and what is brand new, but they both sounded unfamiliar to me at the time. Gura’s “Full Color” and Kronii’s “Souten ni Moyu” both fit their respective characters, personalities, and voices very well, and I think they’re each VTuber’s best songs to date. Neither has an official release yet, but I’m definitely looking forward to them.
The Teaser
After the encore was a mysterious teaser that had the audience clamoring. Featuring stills of fiery imagery and ending with a symbol that somewhat resembles a toothy grin, the natural assumption is that this is the long-awaited next generation of Hololive—the first since 2021. With no other info at this point, it’s anyone’s guess as to what it all means.
Given the dark tones of the teaser, my hope is that it’s some kind of heel faction. Obviously it wouldn’t work quite like pro wrestling—you don’t actually want the viewers to despise them—but I imagine them dropping in to interrupt songs as they begin and talking smack as they belt out some tunes. Hololive EN also has a tendency to start with elaborate lore that then falls by the wayside, so I don’t know if they could maintain that sort of gimmick for long.
Issues
There were a few hiccups at the event, and I don’t just mean Amelia’s at the end of “Chiku Taku.”
The first was that the monitors on each side were off-sync from the main screen, which made looking back and forth between them kind of awkward. The second was that the singing could sound a bit chimpunky at times. Was it the audio equipment at the venue or maybe something else, like use of pitch correction? I don’t have the knowledge to diagnose that sort of thing, so I’ll leave it to the experts.
Technical problems aside, I had also hoped to see more interactions between the different branches English, Indonesia, and Japan, but there wasn’t any mingling. I suspect that they wanted to just do the basics and save stuff for future concerts. I recall a similar situation with JAM Project’s first US appearance at Otakon 2008, where it was almost like an introduction to the American audience.
None of these things are deal breakers, particularly because I understand that the sheer complexity of trying to pull off a huge concert with 3D models means something might not work as intended. Take these as minor quibbles among an overall great experience.
Final Thoughts
I’m proud to have been part of this first Hololive concert in the US. I feel content knowing that I got to see some of my favorite entertainers shine on stage. I do hope we get a blu-ray soon, though, as I would like to have a permanent physical way to re-watch it. Then again, the 4th Fes blu-ray isn’t even out yet, so we might be waiting a good while longer.
I hope we get to see more international concerts in the future so that others have the opportunity to go in person, even if I end up being personally unable to attend them. Of course, depending on location and lineup (Haachama and La+ in particular), I might just have to find a way again.
And now that I’ve gone to a concert for virtual idols, who knows what’s next? Maybe I’ll attend some concerts by 100% flesh-and-blood musicians as well. Ironically, the VTuber rabbit hole might just lead me back to the real world.
Election Day in the United States is only days away, and it’s a midterm with major consequences. From my previous writings, I think it’s clear that I have fairly progressive and left-leaning politics, and in this case, I am concerned that Republican wins will harm the US in numerous ways. From the environmental crisis, to the right to abortion, to gun deaths, to bad economic policies, to public safety in the face of an ongoing pandemic, to the undermining of democracy itself through election denial. But another topic has concerned me lately, and while it’s a bit small potatoes compared to the above-mentioned subjects, I think it ties into the generally fascistic threats that are happening: the attack on fandom.
Recently, right-wing media has been spreading a false story about a student supposedly identifying as a cat and receiving a very public litter box at school. It plays on the fear that accommodating trans people will lead to a slippery slope of moral degradation, and this tactic also attacks teachers and public education. It also clearly puts a target on the backs of furries. To see such vitriolic rumor-mongering about that group on primetime cable TV in 2022 (instead of 2002 on Something Awful) is disconcerting because I think it‘s part of a larger effort to remove spaces for inner exploration through fandom.
Even for a cisgender, heterosexual person like myself, being in fandoms has helped me learn about myself and to broaden my perspectives on various topics, including but not limited to gender and sexuality. Using fandom to find out what you like and don’t like, and then deciding whether or not to interact with others through a shared media experience, can be a very rich and rewarding experience that helps one grow emotionally. Over the years, it’s become increasingly obvious that fandom can help people to realize their identities, be it LGBT+ or otherwise. My fear is that right-wing politics seeks to remove all spaces, online and offline, where people who do not conform to their narrow values can be themselves.
I’m well aware that the description of fandom I just gave is a bit rosy, and that there are toxic elements to fandom that don’t originate with right-wing politics. But I think the general threat of disinformation and using false morality as a tool to leverage power is far greater from the right wing.
Scaring parents by showing freaky fandoms goes hand-in-hand with banning gender-affirming care, and it altogether might drive enough ill-informed people to the polls who mistakenly believe they’re saving America. Trans people, furries, and so many other marginalized groups have been used as scapegoats to distract voters from bigger problems. It’s the Satanic Panic. It’s violent video games. It’s every other fear-mongering propaganda about hobbies meant to scare people into voting against their best interests. I hope we don’t let the same mistake happen.
This is looking to be one of the most competitive anime seasons in recent memory. I don’t think you need me to tell you all of the highly anticipated shows hitting this month, but the ones I’m really going to be watching out for are Gundam: The Witch from Mercury, Golden Kamuy Season 4, Chainsaw Man, Spy x Family Season 2, and Pop Team Epic 2. There’s a good chance I simply won’t be able to watch everything I want.
On top of that, New York is hitting its big con season with New York Comic Con this month and Anime NYC the next! I have some concerns that NYCC is becoming too expensive and unwelcome for many, but we’ll see how it turns out.
Speaking of events, I’ve gotten my Omicron booster, which has prompted me to start watching anime in theaters again—masked and as safely distanced as possible, of course. You can check out one of my reviews in the highlights this month, with the next on the way in the coming weeks.
Thank you to my Patreon subscribers for October 2022!
My criticism of entertainment that ties to monopolize your attention in the worst ways possible.
Kio Shimoku
On Twitter, Kio Shimoku has some issues with his arm lately.
Closing
I’m entertaining ideas to better replace the $15 Patreon reward, which basically has only ever been used once. If anyone has suggestions for things they’d like to see out of the Patreon, I’m all ears. I’m not sure what concrete bonuses I can offer at this point, but I’d like to at least have something that might interest supporters.
OGIUE MANIAX 