Category Archives: thought exercise

Deku and a Culture in Conflict: The End of My Hero Academia

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My Hero Academia by Horikoshi Kohei is a manga that has stood out thanks to its gorgeous art, variety of memorable characters, and exploration on what it means to “do good” and “be a hero.” It ties together the popular genre of the shounen battle manga with the classic American trope of the superhero, and provides a simple but profound setup that evokes the best of both. Now, after 10 years, the series has concluded, and the reception to its ending seems to be rather mixed. While that is likely a case of “the loudest voices” in online discussion, it’s also a reflection of how MHA has long attracted a variety of readers with values that conflict a great deal.

Warning: Spoilers for the entirety of My Hero Academia

Plot and Circumstances

My Hero Academia is the story of a boy named Midoriya Izuku, also known as Deku. In a world where superhuman powers referred to “quirks” are commonplace, Deku dreams of becoming like his idol, the #1 hero All Might. Unfortunately, he discovered at a young age that he is entirely quirkless, all but dashing his hopes. But a chance encounter with All Might leads to the living legend transferring his power to Deku, making the boy the latest in a long line of individuals to carry a mysterious power called “One for All.” This sets Deku on a path towards entering UA Academy, Japan’s most prestigious school for aspiring heroes. Over the course of the series, Deku and his friends learn the ins and outs of being a hero, but also the fact that there are profound disagreements as to what that entails.The emergence of villains, including ones with ties all the way back to All Might’s prime years, adds a thread of history that connects past to present.

So much of MHA reflects the period and circumstances in which it ran. In 2014, titans of Shounen Jump like Naruto and Bleach were in their sunset years, and these series had helped popularize massive casts of uniquely powered characters through which readers can find their own favorites. MHA is cut from this cloth, with all of Deku’s friends and teachers providing a veritable smorgasbord of possibilities. Then there’s Deku himself, with his pure heart and humble desire to help others, who was one of the vanguards of a generation of “good boy” leads. And back when the series began, the Marvel superhero movies were truly a global phenomenon; I suspect that their cultural penetration in Japan is part of why readers gave MHA a chance. 

But a lot changes over the course of a decade. The Marvel Cinematic Universe has dragged on and suffered from all the problems that plagued the overly convoluted comics. Antiheroes never fell entirely out of fashion, and there has always been a contingent of readers who see Deku as boringly naive and someone who needs to learn how dark and difficult the world actually is. His rival Bakugo, a former friend turned bully, is hotheaded and violent, and one of those characters whom certain fans saw as the real star. 

A big question surrounding Bakugo’s popularity was the degree to which fans liked him because they saw him as someone who could change (particularly in regards to personal redemption for his terrible behavior towards Deku), and to what extent people liked him precisely because he’s an asshole. When the series then brings a more extreme version of this dynamic, the question of whether someone deserves forgiveness or a second chance becomes a lot more fraught: The hero Endeavor has a history as an abusive father, for instance, and the villain Shigaraki (responsible for many evils) is himself a product of generational trauma and manipulation. MHA seems to touch directly and indirectly on many cultural flashpoints of the past decade by virtue of being a series that 1) wants to portray a bunch of powerful and attractive guys and girls, 2) is very much centered around different ideas of hard work, camaraderie, and justice, and 3) is a long-running shounen series with lots of plot threads, which means pacing becomes an issue at some points.

The Ending

So when the final chapter came out, it was perhaps inevitable that the reaction would be mixed. There are too many different people with their own perspectives reading this series in their own ways. Even so, it still surprised me how much disappointment seemed to resonate through the fandom. Some interpreted his new life as a quirkless UA Academy teacher to be a bittersweet outcome. They saw it as unfair that a guy who saves the world gets little fanfare and legacy, especially because he loses his powers leading the charge to defeat the ultimate villain of the series, All-for-One. Even All-for-One apparently falls short as a major villain. Other criticismsI’ve seen include the lack of resolution for romantic shops, that outside of a brief period as a vigilantes, Deku never develops a “dark side,” and that having his old classmates develop a Batman/Iron Man–esque super suit for him is a cop-out ending.

Yet the ending is so appropriately Deku. It’s fitting that he would accomplish arguably the greatest feat his world has ever seen and then recede from the spotlight, only to be pulled back into it by the people whose lives he changed. Deku goes through a great many ordeals throughout the entire story, and while he learns that the world presents some complex moral quandaries, those tribulations also reinforce Deku’s inherently kind nature. He sacrifices All Might’s gift to him, One-for-All, to get through to his primary nemesis and rival, Shigaraki. He ultimately reconciles with a changed Bakugo, but not without taking many lumps in the process. In the aftermath of the final battle, he even encourages a villain to write a book about his perspective on why Shigaraki was the greatest, because Deku wants to hear the story he has to tell. And while Deku isn’t holding hands with Ochako (the #1 romantic prospect in the series) by the end, he does call her “his hero.” Even if they’re not officially together in the final chapter, they’re still only in their early 20s, with plenty of life ahead of them. 

It reminds me of the backlash against the ending of Gurren-Lagann, which was also a series where fans loved seeing the hero reach ever greater heights that all seemed to lead to a perfect happy ending, only for a slight twist at the end to break the tidal wave of endorphins the series had been generating at the end. I saw fans at the time its last episode aired express such anger and frustration at its ending, while missing the fact that the hero’s actions signify that the errors of past generations won’t be made by him.

Other Thoughts

I know that some of the problems were caused by questionable fan translations that made Deku seem a lot sadder than he actually was. But even taking all that into consideration, it’s strange to me that “teacher at UA Academy” is joked about as being some kind of perverse punishment. It allows Deku to apply one of his greatest strengths—his love of studying and analyzing quirks—in a way that connects to his inherent desire to help others. Deku’s humble nature is central to his being, and while I don’t wish to analyze the readers themselves, I can’t help but wonder how many people dream of being showered with praise for doing something great, and feel at odds with Deku’s values. If Deku has any great flaw, it’s his willingness to sacrifice himself at any moment, and even that is turned on its head by the fact that his friends found a way to make him a superhero again. 

It also juxtaposes him against All-for-One, who is ultimately shown to be a lifelong sociopath and the embodiment of selfishness. Speaking of whom, I can understand why readers might be disappointed that All-for-One turns out to have pretty uncomplicated motivations instead of those of a true mastermind, but I also think that contrast makes for an important point. For all his power and influence, he was ultimately no better than an emotionally stunted individual whose infamy and accomplishments masked an otherwise naked avarice. “Wasn’t he just a big baby in the end?” Yes, both figuratively and literally, and I can think of a couple real world examples who are exactly this way. The idea that great evil doesn’t need great motivation is deceptively simple.

Final Thoughts

With a series like My Hero Academia, it’s impossible to satisfy everyone who read it, especially because so many disparate groups came to this series. For some, it was a breath of fresh air in manga and comics. For others, it was their introduction to anime and manga. It was a mix of two of the world’s biggest genres with a few others thrown into the pot, and it went on for 10 years. Did it drag at times and leave some plot threads untied? For sure—that was almost inevitable. Yet I do feel that My Hero Academia successfully kept its core intact. There is growth, but growth doesn’t have to mean tossing away everything that made you who you are. For all the ups and downs, I think Horikoshi stuck the landing by remaining true to the hero he created.

Early-ish Thoughts on hololive EN Justice

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It’s been almost two months since hololive debuted its 4th English generation, Justice. Now that I’ve gotten to watch them for a bit, I wanted to give some general impressions and other thoughts.

Justice consists of the warrior singer Elizabeth Rose Bloodflame, the violin-playing automaton Cecilia Immergreen, the gamer gremlin Gigi Murin, and the artist panther Raora Panthera. Their backstory involves a mission to pursue the fugitives of the 3rd generation (Advent), but all of them are just using that as a pretense to get closer to their “targets” and become actual friends. It’s a fun way to add some flavor that makes it easy to both incorporate and ignore their own lore.

One of the biggest changes with the 4th generation is that most of them are European-coded, and they’re generally present during Europe-friendly hours. Elizabeth comes from Great Exardia and has a very British accent. Cecilia is from Immerheim and is natively fluent in German. Raora hails from the Romance Empire, where the local tongue is Italian. The only exception is Gigi from Freesia (which is so full of Freedom), but she streams at the same general time as the others. 

There’s long been a lull in the day because hololive focuses on North American and Asian viewers in terms of timing, with only Takanashi Kiara and Kaela Kovalskia around during prime CET hours. Having new girls help fill that void creates opportunities to gain and keep new fans. Also it lets more people feel both the joys of being near the same time zone as your favorite and the agony of that not being the case.

Something I find notable about Justice is that they’re the first English generation where none of them possess strong Japanese skills. Myth has Kiara and to a lesser extent Calli, Promise has IRyS and Bae (with Kronii putting in work), and Advent has the twins FuwaMoco. This is not a knock on any of the 4th Gen girls or any other hololive member. Rather, I think the fact that Cover Corp didn’t feel the need to include at least one person fluent in Japanese is a sign of how much more global hololive has become. Might we reach a point where we have hololive talent who knows neither English nor Japanese?

Currently, I think I like Raora best. Her food tangents are very enjoyable, her voice is very soothing, and the fact that she so readily draws fanart of herself means that she and her fans can appreciate her design together. The other three have their merits too. Elizabeth has an uncanny talent for voice impersonation that she uses in delightfully devious ways. Cecilia has a dry and absurd sense of humor that sneaks up on you. Gigi’s wit and ability to banter are both top tier, and I learn a lot every time I watch her.

I’m curious to see how they’ll be a year later, or whenever they receive their 3D models. 

(Actually, I just want to see Raora’s hand talking in all its glory.)

What if an RTS Race Had to Deal with Bureaucracy?

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I used to be really into watching Starcraft and Starcraft II, before falling off around ten years ago. However, over the past year or so, I’ve become aware of the many attempts to breathe new life into the real-time strategy genre through a variety of new games: Battle Aces, Stormgate, and so on. I’m uncertain as to whether we’ll end up seeing another renaissance, but it has me recalling the age-old question concerning RTS: How important should execution be?

I think the obvious answer everyone can agree on is that it should at least matter a little. That’s what makes it a real-time strategy game, and the degree of importance is where people will debate endlessly. But I wonder whether you can design a race within a game to be less execution-intensive without making them either too balanced or unfair. Essentially, what if this “low input” race tested different skills that were neither better nor worse than the others, but also had an inherent flaw in that it couldn’t rely on execution as much as others could?

I started to imagine a race that would basically be an empire with a huge and powerful army that is encumbered by its sheer size and maybe a bit of bureaucracy. What if there was a race whose units could be amassed more easily while also being stronger individually, but there was some drawback that kept the player from being able to control them more precisely? 

For example, maybe there is a cap on how many actions could be executed in a given period. This could resemble playing a commander who can only oversee the broader strokes of their forces, and has to leave the details to subordinates.

Perhaps the cap could be over a longer chunk of time (like 700 actions every five minutes?), so there can be moments where you can control your forces more directly, but you end up sacrificing the ability to respond more quickly a minute or two down the line. You’d have to choose when you can execute effectively, knowing that you’ll be more vulnerable at other times, or you could choose to play at a steady pace.

Another possible way to mimic a slow and convoluted chain of command would be to actually introduce a purposeful input delay. This could simulate you giving orders from on high that take time to get through to the lowest levels of the army. Maybe it has to do with controlling your forces, or it could be that upgrades or switching unit compositions take a longer while to happen.

In all these cases, the idea would be that this race can be effective and can be difficult to play in its own right, but it doesn’t hinge on physical execution as much. At the same time, it would allow other players and races who do want to use their honed macro and micro skills to defeat this race if they manage to hit hard at vulnerable moments. I have no idea whether something like this could ever work out, but I think there’s a way to have a reasonable and enjoyable compromise between those who want the high APM and real-time tactics and those who want to be methodical strategists.

I Want a Punch-Out!! Soulslike

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I started playing Elden Ring recently, and it’s my first time with a Soulslike of any kind. Having to make my character stronger while also improving my own skills, all while interacting with an unfriendly world full of giant boss monsters has been a fun and frustrating experience.

It also made me really want to see a Punch-Out!! Soulslike.

Think about it: Punch-Out!! is a franchise that’s all about fighting enemies twice your size, where you have to figure out their quirks and tells, strike them during brief moments of vulnerability, and not overextend lest Mike Tyson send you to the mat with one uppercut. 

What if your player character started from scratch and had to train up? It could be a series of boss fights, but what if it were more like an Elden Ring open world, and you could visit different gyms to practice or spar with others? What if other fighters (CPU or human) could come to your gym? Established major boxers you could face in more official or formal settings, but maybe there are also bad actors who want to fight dirty and jump you in an alley?

It’s been over 15 years since the last Punch-Out!!, for the Wii. I would love to see something that would capture the spirit of the franchise, but if Nintendo wanted to take a different angle, I think this would be a welcome and interesting change. 

An Elden RING, if you will.

Revisiting “The Transformers: The Movie”

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The 1980s Transformers movie looms large in my memory. I can still feel a part of me reacting to moments I first saw when I was maybe five years old, watching a VHS recording at a neighbor’s place. But I hadn’t experienced the full film itself in a very long time, only sometimes revisiting iconic moments on YouTube, and I wondered how I would view it through the eyes of someone well past childhood. 

There are a few things I’ve come to realize by watching The Transformers: The Movie again. Namely, I can see even more clearly why it was such a cultural touchstone for the young fans, and why it was so confusing and strange for adults. To the parents, film critics, and other older folks, Transformers likely spoke in a visual language that was disorienting and didn’t bother to differentiate characters in ways that made sense. 

But the kids, including myself, were essentially raised on the kind of collect ’em all mentality that involved different color schemes for boxy robots. Certainly, collectible toys existed in the past, but this was a post-He-Man world, where the sheer variety of action figures were tied to unique personalities that kids could know and love (or hate). Much has been written about how the death of the heroic leader Optimus Prime was a turning point/moment of trauma for a lot of children. 

Younger people reading this might wonder why this was a big deal beyond the obvious pain of having a fan favorite pass, but the key thing to know and remember is that death was unheard of in cartoons of the 1980s. No one ever got permanently hurt, lasers and guns would blow up vehicles but never people, and each episode’s ending reset to a status quo so that shows could go on forever, or even run episodes out of order if need be. What makes this all the more astounding is that the decision to kill off Optimus—and a large chunk of the cast—was the result of a cynical decision to make way for new toys to sell. The people in charge thought that the children saw Transformers as playthings, only to realize that they had introduced fascinating personalities and role models to which those kids could get attached. Even if the catalyst was simple capitalism, the result was an awareness of the power of fiction. 

One thing I realized anew is how the relationship between Starscream, Megatron, and Unicron plays out. Throughout the original Transformers TV cartoon, Starscream is a conniving soldier whose ambition is to overthrow Megatron and take over as leader of the Deceptions. He also never truly succeeds because he’s a coward who jumps the gun at the slightest sign of weakness, only to have it all backfire. On top of that, Megatron is simply more powerful than him, and he can’t hope to actually win in a fight. 

But when Starscream sends a weakened Megatron to his death, and the latter is exposed to a being far beyond him in the form of Unicron, it becomes clear just how very similar Starscream and Megatron are. Much like Starscream, the normally arrogant Megatron is quick to capitulate when threatened with real harm, but is also just as opportunistic—working towards betraying his new master by trying to obtain the Matrix, the only thing that Unicron fears. The only difference is that Megatron is more patient.

Another takeaway: The movie is basically a series of incredible vignettes kind of sloppily stitched together. The story as a whole is about passing the torch and discovering your potential, and individual scenes have some of the most impressive animation of all time, but the whole thing often feels loose and disconnected. It’s why watching clips of the high points on YouTube or whatever is so effective. Moments like the deadly battle between Optimus and Megatron, the Decepticon leader’s transformation into Galvatron, and the moment when Hot Rod fulfills his destiny with the Autobot Matrix of Leadership never fail to give me goosebumps. The weaker parts I can safely file away in the recesses of my memory. 

If you speak the “language” of Transformers and the kind of merchandising that is its legacy, everything about this movie makes sense. If not, then it all falls apart. I’m curious as to how newer generations of viewers—especially more recent Transformers fans—view this work. It’s a classic in my nostalgia-filled eyes, and I acknowledge all the ups and downs that come with such a perspective.

Ultimate Character Combo: Idols, Gals, and the Jougasaki Sisters

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As character types, the “idol” and the “gal” (or gyaru) have both been around in Japanese media for decades. However, they seem to have hit even greater notoriety in recent times. On the idol side, there’s been heavy hitters like Oshi no Ko and Love Live! Then there are works like Hokkaido Girls are Super Adorable and An Otaku Who’s Kind to Gals, where gals are the main heroines or the central focus.

The idol is an idealized symbol of pure devotion to the fans, for better or worse. Fan support is why she’s able to grow as a performer. The gal is attractive, forward, and runs up against traditional Japanese beauty standards. When portrayed with a heart of gold (or as someone who’s secretly a virgin), she transforms into dork kryptonite. 

What happens when the two are combined? Naturally, it would make for a powerful character.

In thinking about the relative success of both archetypes, I began to wonder if there are any examples of such a convergence. Then I remembered that there are indeed a couple of characters who occupy that intersection: sisters Jougasaki Mika and RIka from The iDOLM@STER.

I am by no means an expert or even a dedicated fan of The iDOLM@STER. What I do understand, based on my limited knowledge, is that 1) Mika and Rika were introduced in the Cinderella Girls mobile game in 2011, and 2) I’ve been seeing their fanart for what seems like forever—Mika’s especially. In all instances, they exude “gal” energy. According to the popularity polls, Rika was initially ranked higher, but Mika emerged as more of an enduring mainstay. As if to reflect Mika’s notoriety, the Cinderella Girls anime portrays Mika not as one of the main characters, but an established idol whom others look up to.

One thing I don’t know is whether Mika and Rika have been merely a reflection of the two trends or if they actually contributed to their presence in significant ways. In other words, while I can guess that their popularity has come from being gal idols, how often is it the case that the Jougasakis are the reason people got into one or both sides? Gal subculture has been around for a long time, but I don’t recall them being nearly as prominent as characters in 2011—at least, not in the way they are today, and not in terms of their cultural presence around in the 90s and early 2000s.

While one can hardly attribute the increased visibility of idols to primarily Jougasaki Mika or Rika (they are from games where nearly everyone is an idol, after all), I can’t help but wonder if they’re significantly responsible for shining a greater spotlight on “gal characters” in a way that has persisted over a decade later. If the sisters have played a large role, it would make them influential in a way few other characters can match.

And if there are any other examples of gal idols, I’d like to learn about them.

When the Shounen Good Boy Gets Hate: Tanjiro, Deku, and Anti-Antiheroes

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The first time I learned that some anime and manga fans dislike Tanjiro from Demon Slayer, I was genuinely surprised. To me, he’s one of the best shounen protagonists in a long time: a gentle soul whose greatest qualities are love and empathy, and who is fueled by those emotions to get stronger. And in terms of the battles Tanjjro fights, I really enjoy how every victory feels like it came at great cost to him, emotionally and physically.

“How could anyone not like Tanjiro?” I wondered. Even knowing that this was probably a minority of viewers, I decided to just look at online comments both off the cuff and more detailed, and saw a few recurring criticisms. Namely, the goodness of Tanjiro can make him come across as preachy or self-righteous. He’s too good, lacking any darkness whatsoever, and this can be difficult to relate to. 

I understand not being into goody two-shoes, but what confused me at first is that it’s not like Tanjiro is a perfect unstoppable hero. He’s often unable to defeat demons on his own, and it means that battles are more of a collective effort. However, I eventually realized that this too can be seen as an unappealing trait precisely because he didn’t win on his own.

Things changed when I began approaching the matter in pro wrestling terms. Essentially, I think a lot of people who aren’t fond of Tanjiro—or other similar characters like Deku from My Hero Academia—want heroes more akin to wrestling greats like Stone Cold Steve Austin, The Rock, and post-1980s Sting. Back in the 1990s, antiheroes became much more prominent in entertainment as a whole, and while they were often underdogs against an oppressive greater force, they were also rowdy ass kickers. In contrast, Tanjiro is what wrestling fans call a “white meat babyface,” or an unabashed good guy. In wrestling, this is often “solved” by having the good guy turn bad, become edgier, and then become good again so that they carry at least a bit of a dark side with them. This literally happened with The Rock, and even Deku has a similar phase—one that certain fans had wanted Deku to reach the entire time. Some folks are just looking for badasses.

All this reminds me of a post I wrote back when Kill la Kill was the big thing. At that time, some fans saw Ryuko as a one-dimensional protagonist because she’s a perpetually angry ass kicker who doesn’t have a grand arc full of character development. She doesn’t change on a fundamental level, and this was viewed incorrectly as “poor writing.” I think a similar thing happens with Demon Slayer, only with a different type of main character. That’s not to say preferences aren’t allowed to exist, but that they are not to be confused with neutral objectivity.

For Tanjiro and other “good boy” characters, the purity of their compassion is a beacon of hope that kindness and love can be enduring sources of strength. The fact that Tanjiro never changes at his core reinforces that power. At least, that’s my interpretation. What I’ve since learned is that others might see that aspect as something bland and in need of “development.” To this, I would say that being able to maintain one’s empathy even as the world grows more cruel is a fine character arc because it is in itself a true challenge that requires adapting and honing oneself to overcome the temptation to do otherwise.

One Piece, the Five Elders, and Going Beyond Expectations

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I’ve been keeping up with the One Piece manga for many years now, though I don’t write about it all too often because I don’t feel the need. When the subject is one of the most gargantuan works of fiction in history, it’s not hard to find opinions, articles, podcasts, and videos discussing—or even dedicated entirely to—One Piece. However, the events of recent chapters, particularly the actions of certain characters, have been so significant that I feel compelled to share my thoughts.

Naturally, I’m going to be talking about HUGE SPOILERS for the One Piece manga. To the anime viewers and anyone else who doesn’t want the surprise ruined: turn away now.

The milestone in question is the long awaited arrival of the Five Elders into the main story and the full debut of their monstrous alternate forms. The impact they have is almost unparalleled—something that only a select few series can ever accomplish because they lack the longevity. The only one that springs to mind aside from One Piece is Detective Conan, whose main bad guy is still shrouded in mystery even after some major revelations.

In action manga, especially the shounen battle genre, villains come in many forms and can often be among the most exciting and interesting characters: minor nuisances, archenemies, rivals, erstwhile allies, etc. But one area that can make or break a battle manga is the appearance of a major antagonist, especially one that has been built up in the background. Freeza in Dragon Ball is an iconic example of this being done well, from the first mentions of him, to his initial reveal, and then to Freeza’s many transformations. The span of Freeza’s debut to his true form was a little over a year, or 58 chapters. The anime stretched it out even longer, as it was wont to do.

In contrast, the Five Elders in One Piece first showed up in 2002, and their descent onto Egghead Island happened this year in 2024. That’s 22 years, and over 860 chapters—enough time for infants to grow into full-fledged adults. And what’s even more astounding is that the Elders actually lived up to literal decades of anticipation!

On a very basic level, part of the reason the Five Elders are worthy of the hype is their physical appearance. They are legitimately menacing and bizarre in a way that none of the most dangerous and freakiest of Luffy’s foes thus far can match. All five are based on demons and mythological creatures, and they exhibit a new level of uncanny. Moreover, their powers are such that merely gazing upon them knocks the average soldier unconscious, and even Luffy’s new “Sun God Nika” form can only stymie them temporarily. In other words, the Elders look and feel like unprecedented threats to the Straw Hat Pirates.

Beyond the artistry in their designs, the weightiness also comes from how these monstrous forms have been mostly kept under wraps for so many years. Aside from an earlier hint when Sabo infiltrated their domain (which showed the Elders’ silhouettes transforming), it wasn’t even clear that they were physically strong in their own right. After all, as the heads of the World Government, it could easily be the case that they were just a group of wizened old men who rule through intellect, hegemonic inertia, and political influence. The fact that they’re actually capable of outclassing nearly every other character in One Piece is both a great twist and a satisfying fulfillment of the core of shounen battle manga. Why wouldn’t the literal leaders of the world also be the biggest badasses around?

The Five Elders also now open up even more speculation:

Why are they able to regenerate from any damage, and is there a catch that might just be their Achilles’s heel? And why are the Giant Pirates able to hold their own against the Elders?

Their names are references to five of the planets in the Solar System: Saint Jaygarcia Saturn, Saint Marcus Mars, Saint Topman Warcury, Saint Ethanbaron V. Nusjuro, and Saint Shepherd Ju Peter. Three of the other planets have references in the Ancient Weapons: Poseidon, Uranus, and Pluton (remember that this series began before Pluto was officially redesignated to a dwarf planet). What is their relationship, and could the Ancient Weapons somehow be key to defeating them? The two Weapons we know about in detail are associated with the sea—Poseidon is a mermaid who can control the massive Neptunians, and Pluton is the greatest battleship in history—so might the Five Elders be vulnerable to water in a way similar to Devil Fruit users? And could their distant-yet-absolute dominion over the world of One Piece have to do with a profound fear of the sea?

And what of their true leader, Imu? How can beings as powerful as the Five Elders be subservient to this individual? 

One Piece is currently on a brief hiatus. This might be for the best—not just for the author, Oda, but for us readers. Maybe we need this breather before things get even more unpredictable.

Alter Egos in VTubing and Pro Wrestling

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Sometimes, I think about how so many members of hololive have “other personas,” and I don’t mean past lives as other streamers or entertainers. More than simply being a yandere-esque hidden side, they’re more like split personalities or alter egos. Some come from lore, while others are developed over time. It really reminds me of what we see in pro wrestling.

Haachama, Eater of Worlds

Akai Haato, aka Haachama, is arguably the most famous example of showcasing alternate identities. What began as a conscious decision to move from low-key tsundere schoolgirl to unpredictable eccentric eventually turned into an interactive narrative, and then as two possible ways for Haachama to stream. You never know which one you’re gonna get, and it gives special meaning to her self-proclaimed title of “World’s Strongest Idol.”

While I once compared her to Brian Pillman and Matt Hardy, this versatility also reminds me of the late Bray Wyatt, who drastically evolved his gimmick over time to feature multiple contrasting identities. At one point, he would switch between being a disturbed children’s show host and the otherworldly Fiend. Before that, he was a bayou cult leader. Every time, it felt like a grand opportunity to peer into an unpredictable mind, and this is what Haachama brings as well.

Moona Hoshinova and Gawr Gura, and their Demons

Moona from hololive Indonesia is supposed to be a college girl who also works as an idol and a singer. According to her official bio, she is sometimes taken over by another self called “Hoshinova,” who has a deeper voice and a sadistic streak. The transformation is best showcased when she performs her original song “High Tide,” further emphasized recently by a change in eye color. It’s as if having the two sides allows her to be both silly and serious.

Similarly, Gawr Gura has her “red version.” It wasn’t originally part of her lore, but it became a feature of her character with the release of her original song “Reflect.” This facet is part of the song’s lyrics, and even factors into her animated short Shark’d. Red Gura doesn’t appear often, but when she does, it’s special.

Because their alter egos appear more rarely, they bring to mind wrestlers like Jushin Liger and Finn Balor. Each has had a special transformation where they get more fierce: Kishin Liger and The Demon, respectively. 

Ayunda Risu and Shirakami Fubuki, Masters of Versatility

Moona isn’t the only hololive Indonesia member to have two contrasting sides: her fellow genmate Ayunda Risu also divides herself between being the high-pitched Risu and the silky-smooth Ayunda. Over in Hololive Japan, fox girl Shirakami Fubuki sometimes turns into the darker Kurokami Fubuki. In both cases, the transformations highlight the vocal talents of the performers. Risu is regarded as one of the best singers and possesses impressive range, while Fubuki is famous for her impersonations.

These transformations are similar to the difference between Mutoh Keiji and his other self, the Great Muta. Unlike so many other transformations, Mutoh and Muta actually wrestled different styles—not unlike how Risu and Fubuki can significantly change their voices.

The Many Faces of Amelia Watson

The time-traveling detective has gone a different route by creating an entire story built around a multiverse. According to herself, Amelia is just one of an infinite number of Amelias whose ranks include smol gremlins, bees, muscular hulks, and more. Here, Amelia shifts her personality slightly and treats each model as a different entity, but they’re all fundamentally the same persona.

In this way, Amelia resembles latter-day Mick Foley, who would wrestle as all his various gimmicks: The violent Cactus Jack, the disturbed Mankind, and the groovy Dude Love. And like how Mick once actually appeared as all three in a Royal Rumble match, it was once not unusual for Ame to feature her parallel selves. These days, it happens much less often.

Other Occasional Gimmicks

There are a few who will have creative costumes meant to be alternate selves. Inugami Korone has her fur ball model. Kureiji Ollie has Olivia (see above), a meek human version who never died. Takanashi Kiara sometimes has her stream taken over by Frogiwawa, a gun-toting amphibian version of her.

These I would consider similar to one-off jokes. Elias once became his brother, Ezekiel. Braun Strowman once came out in nerd glasses claiming to be a sibling named Brain Strowman. This approach makes for a bit of enjoyable mirth.

The Power of Possibility

I think the consequence of these alternate selves is that it allows a greater degree of creative freedom and a chance to experiment. Just like in pro wrestling, doing this seems to help prevent a VTuber from getting too boxed into being a specific way no matter what. It can help break up a sense of monotony, and hopefully just make things fun and fresh for the creator and audience alike.

The La+ Darknesss Solo Live, the hololive EN “Mind Craft” Cover, and Other Recent Music Events

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A lot of cool music-related things have happened in hololive land over the past few months, so I just wanted to give some brief, unorganized thoughts about them.

La+ Darknesss Solo Live: Waku Waku Nightmare

La+ had her first solo concert a few days ago, and the paid VOD (3300 yen)  is still available until March 1, JST. The event was sponsored by Nissin, the original instant noodle company, and La+ recently became a spokesperson for their U.F.O. brand of yakisoba. Note that the site is Japanese-only, and that when registering, you can put all 0s as your phone number. (Also, there’s a Koyori solo live on April 7, JST.)

As a La+ fan, I’d been hoping for something like this for a while now. While I could talk endlessly about this event (check out her final song, “Kurai”), I just want to highlight a couple things that stood out to me.

La+ actually started off with “Kamippoi Na,” which was her very first cover song back when she debuted, and she decided to sing with a deeper voice in contrast to the the whispiness of her recorded version. The choreography was also completely different from the time she covered it with Murasaki Shion. What’s really fascinating, though, is comparing her dance to that of Hakos Baelz. Both are among the very best dancers in hololive, and you can see how their respective styles come through on the same song: La+ is smooth, while Bae is dynamic.

Towards the end, La+ performed “Aien Jihen,” her first original song, and something she hadn’t pulled out since her original 3D debut. Back then, she had decided to perform the dance against a pre-recorded vocal track because of the challenging choreography. This time, however, La+ did both the song and dance, showing the progress she’s made, but also how she’s worked through a collarbone fracture from her COVID cough, a hiatus for her mental health, and throat issues, among other setbacks.

One thing I noticed during this performance of “Aien Jihen” is that the choreography has changed in some ways since she last showed it. These might be adjustments designed to make it easier to perform while singing, but I also suspect that she actually modifies her dances depending on whether or not she’s wearing her massive coat. Note in the above images (during the line “Nothing bad happened”) how La+ is leaning forward in her 3D debut but is leaning back during her solo live. I feel like the silhouette in the first image wouldn’t be quite as strong without the coat.

Ray (covered by Generation 0)

Recently, I was trying to decide which generation is the strongest musically…and then the Japan Generation 0 cover of “Ray” came out. Suisei, Sora, and AZKi are in the top echelon of Holo singers. Roboco’s sound has this haunting quality, and Miko pulls off “cute idol” while maintaining her signature voice. The closest second is probably Indonesia Gen 1.

Mind Craft (covered by hololive English)

Hakos Baelz organized a cover of “Mind Craft” with the entirety of hololive EN, and everything about it is amazing. The balance between giving the fans familiar combinations of individuals and unexpected ones really makes it a journey of a song. My highlights are IRyS + Nerissa, and how Bae herself is presented as a modest “leader” of the whole thing, both in how she has only a few solo parts but at pivotal moments, and her literal outfit looking like a ringmaster’s. Speaking of which, the character art is some of my favorite ever for hololive, and I hope there’s a way to own it someday.

Bae also did a stream where she talked in detail about getting the song and music video produced, and I think it’s worth a listen.

2023 to 2024 Countdown 

The New Year’s countdown was fun just like last year, and I’m glad to have seen new girls get in on the Shuffle Medley fun. Naturally, La+ as Kiara performing “Do U” stole the show for me.

But I wanted to look more at the fact that the hololive and holostars streams had different performances of the same songs, with distinct choreographies. Specifically, it was “Idol” from [Oshi no Ko] and “Dai Zero Kan” from The First Slam Dunk. 

The guy versions are more “masculine” in approach (like the basketball-themed dance moves in “Dai Zero Kan”), and it makes me think of something I read in the dance manga Wandance: It tends to be the case that guys don’t learn “girly” moves. Issues of heteronormativity aside, it’s still fun to see different interpretations of the same songs.

hololive KDA

I wrote about the Riot Games One 2023 KDA cover performances previously, but I’m bringing it up again because I’ve been thinking about something in particular: The hololive version shows some of the limits of the 3D technology, and where it has room to improve. 

Putting aside the skill difference between the hololive girls and full-on professional dancers, there are definitely moments where the 3D can’t quite capture certain subtleties, or where certain moves don’t quite read correctly. For example, during “POP/STARS,” one of the performers is supposed to be a bicep flex, but this just doesn’t get conveyed when La+ does it.

That’s it for now! Who knows if I’ll do one of these again?