Anime NYC weekend for me was filled with music events big and small.
Club Ironmouse
I admire Ironmouse and the community she’s managed to foster, but I had yet to ever see one of her concerts in person. When tickets for her Anime NYC edition of Club Ironmouse went up for order, I decided to buy some tickets without any additional info available. I was confident that in addition to herself, she would feature some spectacular guests, and my prediction was rewarded. In particular, I’m a big fan of Michi Mochievee, and I’m glad I got to see the two perform together. The other main artists were Ünnamed (who is nonbinary and performed as both their male and female selves), a musician called CG5 (who used a chibi version of himself to participate in this VTuber experience), and Banzoin Hakka from Holostars. I’m surprised there were no jokes about Michi and Hakka being each other’s doppelgangers.
One problem with the event, through no fault of Ironmouse or her team, was that the Javits is just not a good space for concerts due to poor acoustics and a concrete floor that’s extremely unforgiving to feet. Another problem was one of my own making: Due to a conflict, I missed the pre-show and a bit of the main portion. I ended up having to deal with an unusually torrential Manhattan evening, and my feet were definitely not dry for any of it. Overall, I liked that things felt both casual and exciting, which is a different vibe than from a lot of the things I’ve experienced.
Club Ironmouse also did something amazing: They sent a discount code to give all live attendees the ability to watch the stream for free. This gave me a chance to catch those other parts and to revisit Michi and Mousey’s performances, as well as the others. I really wish other concerts follow suit, as it does feel like you get punished a bit for going to events like this in person.
Big Apple Idol Fest
This was originally not on my radar, but my Sunday was fairly open. This event area held around 1,800 people and featured many more acts. They ranged from cosplayers doing dances and pantomimes, to more traditional idols who did both covers and original songs, to VTubers who will also perform live. I generally enjoyed the song-and-dance performances more than the dances, but I did appreciate that the latter included choreography from Oshi no Ko and Aikatsu! I also thought it was nice that a lot of the performers were from New York and surrounding areas.
In my previous review of the Otakon Idolspace, I had mentioned that the kaigai (overseas) idol scene seems to want to extract the positive aspects of idol culture without also bringing in the more abusive and problematic parts. Big Apple Idol Fest clearly showed an embrace of different body types instead of having restrictive standards for height and weight and other aspects. It’s like the idols want it to be just as much for themselves as it is for their fans.
Yumemi and Phoebe Chan were two performers I had seen at multiple events this year like OshiUplink, Otakon 2026, and Skyline Serenade. Both had mentioned doing this for about 10 years, and I felt in their performances a level of refinement that reflected their levels of experience. I also lucked into being the perfect spot to buy a cheki from Phoebe and meet her in person. We talked about Macross!
I also later learned that multiple VTubers (some of whom I follow) were in the audience, enjoying a culture that interacts with and overlaps with theirs so thoroughly. It’s kind of funny to just think about the fact that they were secretly present, enjoying the advantage of relative anonymity.
Eclipsed Fates
I think it’s safe to say that there are more VTubers now than anyone can reasonably ever watch, which means that sometimes you find people you like and enjoy, but then they fall to the wayside. This happened to me with the girls of Variance Project, particularly Leia Memoria. When I saw that they were having their first ever concert for their first anniversary, and that it was during Anime NYC weekend, I decided to go.
Unlike the other events mentioned above (but like Skyline Serenade and Seigetsu Stars), Eclipsed Fates was not officially associated with Anime NYC. Rather than being held at the Javits, it was at a small bar in Park Slope, Brooklyn called Atolye NYC. Most of it was standing room, but there was some seating which I took advantage of. I was behind the camera the whole time, so you will not see me in the VOD.
Two things I noticed about Variance Project have been 1) True to its name, the girls are very different from one another, like you’re going from chocolate cake to straight vodka, and 2) they seem to enjoy reveling in their lore more than other groups. Eclipsed Fates was less of a straight concert and more of a concert-musical with a narrative underpinning everything. The sound could be hard to hear at times so I didn’t catch every detail, but the story was basically that the three girls of Equilibrium—Leia, Avaritia Hawthorne, and Katya Sable—were brought to a barren world where they were made to face off by an evil deity, with the winner getting to make a wish. Each of them was also accompanied by an ally (i.e. guests for the concert): Phoebe Chan (again!) in VTuber form, Vampirate Odessa, and Pengy. Eventually, they managed to work together to reject and defeat the god through the power of song, and they realized they make a pretty good team (though some were more reluctant to admit it than others). Overall, it was a neat idea that I wish I could have heard better at the venue.
After the credits, there was a teaser trailer for their next generation. In the days since, Embyr Sparks and Cecilia Lent have debuted, and they indeed lean into their lore pretty hard. I particularly enjoy Embyr’s easy-going and familiar-feeling attitude (and does a good cover of “Skyfall”), but I also appreciate Cecilia’s character acting (and the fact that she’s selling sticks of wood for debut merch).
When Calliope Mori debuted as the first member of hololive English, she helped transform people’s perceptions of VTubing by showing that the music and personalities didn’t have to be limited to assumptions about idol culture and kawaii aesthetic. Over time, however, she has changed her approach to music, going from primarily rap to rock with occasional rap elements, and she even does some of the idol stuff. In fact, she now finds some of her earlier songs to be somewhat embarrassing, and it’s a transition that I find intriguing.
It’s perfectly normal to cringe over one’s past artistic work, and genre changes also aren’t unfathomable. But I think in Calli’s case, the rapper + reaper combo has been a tricky thing to pull off because it requires two different and at times contradictory forms of kayfabe. That is to say, she has two create and maintain her act convincingly enough that the audience can suspend disbelief, and she has to do it twice over.
Before I dive in, I want to preface that neither music or rap (and its culture) are subjects I am an expert on. Everything I learn I basically pick up primarily from others, so if I come across as a tourist, then well, guilty as charged.
On an episode of Holomelo Radio with fellow hololive member Nerissa Ravencroft and musician Lotus Juice of Persona fame, Calli mentioned that she eased up on the rapping because she can’t bring the confidence expected of a dedicated rapper, especially in English. While her inspiration for getting into the genre was always Japanese rap (notably FAKE TYPE.) as opposed to American, the fact that her primary language is English means that any claims to be an amazing rapper puts her in contention with some real heavy hitters and a culture + fandom that isn’t afraid to let their criticisms be heard. Being a white Texan also complicates matters.
Black video essayist FD Signifier describes rap as having a form of kayfabe akin to pro wrestling. A lot of performers will talk about how dangerous they are, how much money they have, why they’re the greatest on the mic, etc., but in every case, it’s a persona with some truth blended into the fiction at best. The crucial part of this performative presentation is that the rapper has to make you believe that theybelieve they’re the best in the world. Calli appears to have trouble buying into her own hype, perhaps because rap is such a heavily scrutinized and competitive art form. Even an actual commercial and critical success like the subject of FD’s video above, J Cole, has gotten a lot of flack from some commenters. His apology and withdrawal from beefing with Kendrick Lamar was often seen not as a welcome example of humility but instead a marker of weakness and cowardice.
While most would have only one level of kayfabe, Calli has a second: her identity and lore as a VTuber, specifically her persona as an immortal grim reaper. While VTubers don’t necessarily have to go all in on the assumed persona, it becomes a point of connection for viewers and potential fans, and it makes a difference in presentation compared to other streamers and creators. However, trying to keep up a complete alter ego based on a single aspect becomes an increasingly difficult task over time, let alone two aspects.
It’d be like if Eminem had to be “Slim Shady” in most songs and public appearances, and also Slim Shady was a vampire for some reason. Or imagine if the Undertaker in pro wrestling was not just some kind of undead wizard (and occasional biker) but also a rap star. One of the reasons rapping worked for a young John Cena was because “Doctor of Thuganomics” was his primary gimmick at that point in his career was that he was supposed to be a normal-ish guy (albeit with freakish strength) otherwise. VTubing is also similar to wrestling in the way minor past accomplishments can become the entire basis of a performer’s identity, because of how they allow a performer to stand out in their respective spaces, and this can be both an asset and a limitation in both worlds.
What I think undergirds her stylistic switch is that Calli wants to be vulnerable in her music. I don’t think it’s a coincidence that one of her most beloved early songs is “End of a Life,” which is about guilt over becoming a massive success as a VTuber and leapfrogging over friends and mentors to whom she felt deep gratitude. In fact, Calli originally applied to hololive on a whim after her friends barely convinced her to try it out, and she beat them out despite taking it less seriously. While some of the most acclaimed rap songs express profound pain, rap is often about having that air of strength and swagger, and it feels like she increasingly gets away from that bravado with every album (such as in “Memento.”)
The current Mori is currently making what I find to be the best music of her career, like the opening she did for Patlabor EZY, “Reimei Compass.” She’s still honing her rap skills too, like on her cover of Gurren-Lagann’s “Libera Me from Hell” alongside Elizabeth Rose Bloodflame. Seeing the way she has morphed her identity as a performer is encouraging. It’s as if she’s saying that the image you’re given, or even the one created by your own hands, should not be a prison that keeps you from further discovering your potential or your passion.
Skyline Serenade was an independent VTuber concert held on August 21, 2026 at the Beacon Theater during Anime NYC weekend but independent of the big convention. With its fairly even mix of both VTuber and IRL performers, it was emphatically a 2.5D (or perhaps 3.5D) show.
On the virtual side was the tapir nurse Nimi Nightmare, as well as the ghost maid Mint Fantôme of Densetsu.exe. There on stage in the flesh were Phoebe Chan—also of Densetsu.exe in both her VTuber and IRL forms—and the Austrian cosplayer/music artist Keekihime, who actually was part of an idol group Japan in the past. Rounding out the roster was a powerful guest list that included the recently returning vampire Kou Mariya, the cockroach starlet Matara Kan, and the elusive Shachi (who might not have counted as a VTuber but is willing to be on stage as a pink orca). Another very pleasant surprise was that Mint and Phoebe performed one song with the last Densetsu member, Victoria Roman, whom I absolutely adore.
I had previously seen Nimi, Mint, and Phoebe live at other concert events (Virtual Vacation 2025, Fantôme Thief’s Revenge, Otakon 2026), but Keeki would be a new experience for me. She actually made a US appearance last year during Otakon weekend, but that was actually the one year I couldn’t go to DC. Given that none of them have the explicit backing of a big industry player (and the Densetsu girls were set back by the unceremonious downfall of VShojo), I decided that this would be the biggest priority of my Anime NYC weekend, even if it meant having to miss out on a hololive karaoke event literally being held at the same time at the con proper.
There were a few issues at the venue off the bat. The line for bonus merch for the VIP and SVIP ticket holders was slow-moving to the point of pushing back the start time. The SVIP package also lacked the promised hand-signed postcards from Keeki, but that was because of a series of unfortunate incidents that had her travel visa come in late and freak storms preventing her from flying out until the day of. Fortunately, not only was the delay fairly minimal (about 30 minutes), but the organizers made it clear that Keeki’s autographs would be sent out via mail.
Once the concert itself kicked off, I had a wonderful time. Something I keenly felt was how much they wanted to emphasize that bridging between the virtual and real, doing every combination of girls possible and then some.
Phoebe sang with a gigantic 2D Kou Mariya, as if to push the idea that nothing is set in stone.
Keeki donned a Nimi cosplay to perform “Renai Circulation” with Nimi herself, creating a fun visual.
When Densetsu.exe performed together, the 2DLive model used by Vicky, the mocapped 3D model of Mint, and the physical presence of Phoebe made for a delightful contrast that accompanied their unique respective singing styles.
There were also a lot of nods to their shared history in various fandoms and with each other.
Nimi performed the emo pop-punk anthem “Still Into You” with Shachi (who sounded amazing), during which Nimi held the relatively small orca in her hands and moved her around as if Shachi was moving through the water.
Mint and Matara, friends and veterans of the same disastrous situations, debuted a new song together titled “Set Me Free.” It was fun seeing Matara dance with her insectoid claw feet.
Keeki (wearing a look inspired by the Austrian National Football Team) and Phoebe (in a gorgeously detailed idol outfit) pointed to their long-time love of Japanese idols by covering a song from the group W, “Koi no Vacance.”
Phoebe’s “Start Again” had her sing about continuous reinvention, accompanied by footage of her various VTuber designs (including Ami Amami from the defunct Prism Project), while her performance of “Seikan Hikou” called back to Ranka Lee, the Macross Frontier character who sparked her love of singing in the first place. (I was surprised she wasn’t part of the “Lion” performance.)
Overall, attending Skyline Serenade really made me aware of the strengths and limitations of VTuber vs. IRL performance. The anime-esque designs of the former can give performers impossibly perfect features and proportions, but the current technological limitations mean you can’t fully capture the rich subtlety of movement of actual people. Either way, everyone was beautiful in their own right both visually and aurally, and I don’t have any regrets except one: I didn’t know photos were okay! It would have helped make this review and report better, but alas.
PS: After the concert, I briefly attended a VTuber after party called Seigetsu Stars, foolishly forgetting that I don’t really have it in me to stay up all night anymore, especially in a club environment and especially when I planned to be up early the next day. I watched Hyuni and Amano Nene, and then had to tap out. I wish I could have stayed longer, but my body thanked me for not sticking around.
Last year was the first time in about two decades that I did not attend Otakon. While I don’t regret my decision, I still missed being there, so I was extra stoked to return to DC for 2026. While I’m not from the area, I considered this convention to be an annual homecoming of sorts. There’s still nothing like Otakon, even (or perhaps especially) in an age where anime cons keep popping up and attendance is exploding.
The Basics
Otakon 2026 was held at the Walter E. Washington Convention Center in Washington, DC from July 31 to August 2. In a rare and pleasant change, the weather was surprisingly good, with temperatures hovering below 90 degrees F and only a Sunday storm at the end being an issue. According to official numbers, this was the most attended Otakon of all time, at 47,049.
And while the US and the world has moved on, I still think it’s important to bring up the masking policy, or lack thereof. I know it’s sadly impossible to convince the majority of people to stay masked at this point, I wish they took COVID-19 more seriously. At the very least, the spaces (including the Artist Alley and Dealer’s Hall) were well ventilated, and they don’t forbid masks either. (It can just be a good way to avoid getting sick in general.)
The theme this year was “Swords and Sorcery,” and attendance badges used official art from Final Fantasy XIV with designated classes such as Summoner, Wizard, etc. People could also volunteer to play a scavenger hunt-esque RPG that involved finding images of runes hidden all over the convention center and then “fighting” enemies at a guild. I participated a bit with friends but didn’t get a chance to do any battling myself. As far as I could tell, it was a fun idea implemented somewhat awkwardly, but I understand that it’s hard to make a game like this that accounts for all the different priorities attendees might have.
The New(-ish) Autograph Policy
Since last year, Otakon has done away with the in-person, first come first served international guest autographs lines of the past. Instead, they switched to a system that required people to sign up for autographs via the Guidebook app that was still first come first served but meant that the struggle happened entirely online.
The rollout for 2026 was marred by a few problems. First, when autograph sign-ups initially launched a couple weeks before the con, the Android version of the app could not select any of them, and those on iPhone could only select one autograph total. When they redid it later (and over multiple days to spread the load), the app would not automatically update at the start time, and you had to swap in and out between them. If you didn’t know, this meant losing precious seconds that might be the difference between getting an autograph and not. Also, you couldn’t sign up for two autograph sessions that overlapped even the slightest, so if you had two guests with conflicting schedules, you couldn’t get both, even if neither had a particularly long line.
Despite personally getting many autographs over the years through the previous approach, and despite potentially losing out on sign-ups due to the above issues with Guidebook, I welcomed the new policy. The song and dance required to get access was always ridiculous, with people hovering as close to the autograph area as possible without technically being “too close.” The fervor with which people rushed the line was also unpleasant and dangerous, and I’ve personally seen someone have a panic attack when they got caught within the aggressive push. Then there was the amount of time you had to dedicate to get into position to even have a chance (an hour at least), and it meant losing out on other things you might have wanted to do or see. And because it needed to account for throngs of people, the Autograph Area was in the Dealer’s Room, adding to what is already one of the most crowded sections of Otakon.
With the change, autographs instead were held on the 3rd floor, near Main Events, turning all-but-inevitable chaos into a fairly subdued experience.
VTubers Officially at Otakon
While VTuber fanart has been a part of the Artist Alley in recent years, and even a few companies have appeared as vendors (e.g. Phase Connect), this was the first year that VTubers were officially guests at Otakon. The lineup was slim but varied, ranging from prominent stars like Ironmouse to talents with smaller fanbases. Should they start to have a bigger presence (and more heavy hitters) in the years to follow, I wonder how it might affect attendance numbers, given that despite a good degree of overlap, not all anime/manga fans are VTuber fans and vice versa.
Unlike at OshiUplink, the official meet and greets were free, and were treated more or less like autographs—including being held in the same area and requiring sign-ups via Guidebook. I got the chance to talk to Izumi Teeny and Bonnie Barkswell this way. I wish I could have seen Ironmouse’s panel, but Guidebook can be a clumsy app, and I wasn’t even aware she had one. However, I did go to Hylo’s Anime and VTuber Jeopardy panel, and was fascinated to see what came easily to the other players and what stumped them. The fact that people struggled over the question of what anime “Hare Hare Yukai” came from is a very quick way to make me feel the passage of time.
There was also a VTuber concert by Teeny, Bonnie, Rachie, and Yumemi. I couldn’t catch the very beginning, but still managed to watch most of the girls. Given that most of them appear via screen, Otakon made the decision to hold the concert in a video room instead of an event space. Despite that, Yumemi actually appeared in person as well and performed with her animated counterpart, even running up and down the small aisle.
Idolspace
Speaking of concerts (and VTubers), I went to see Phoebe Chan perform. I almost didn’t make it because I mistakenly thought the Idolspace area (where Phoebe was) and the Featured Events area (which had some idol and cosplay performances) were the same thing. That was on me for not being aware of that distinction, but I think my confusion was understandable.
The preshow featured a fun overseas idol duo called the ChiRi Girls. Their hard work was evident, and I’m curious to see where they’ll be in a couple more years. Phoebe meanwhile, is someone I had heard about for years but started paying more attention to after she became a part of the VTuber trio Densetsu.exe. She’s been going for about 10 years at this point, and I could feel a strong sense of professionalism and polish that clearly came from that decade of experience. Even when there were some technical issues, Phoebe managed to take it all in stride and still give a powerful performance. She did an excellent “Hot Limit” cover too.
As someone who enjoys VTubers and some idol anime but isn’t big into idols in general, it was interesting to get a taste of a world that felt very familiar in many ways, yet unfamiliar in just as many other respects. In particular, it’s the embrace of certain aspects of Japanese idol culture combined with a more “outsider” approach that I find fascinating. It’s like they’re trying to decouple idols from the power structure and hierarchy found in Japan and keep only the fun aspects, and I can respect that, even if it’s not perfect. Another thing I noticed about the Idolspace that I enjoyed is that there was no seeming need by the audience to stand—they provided a space for those who had that desire, though. Sometimes, I just want to sit and enjoy things.
Interviews
I got to speak to two guests this year and conduct interviews:
The first was with Minami Masahiko, co-founder of Studio Bones.
The second was with Oka Kunio, a man famous for designing food replicas like the ones you see at restaurants all over Japan. Stay tuned for this one!
Panels and Screenings
I make it a point every year to go to panels at Otakon, professional- and especially fan-run. Even when the quality varies, I can sense the passion for the subject, and it encapsulates a lot of what I enjoy about conventions in general. Sadly, I did not attend any 18+ panels this year because I was perpetually too tired in the evening. Also surprisingly, I don’t think there was a single Record of Lodoss War panel. Perhaps that’s just a sign of the times.
Detective Conan the Movie: The Million Dollar Pentagram
There has been a renewed push for Detective Conan over the past few years (including specifically using the name Detective Conan instead of Case Closed), and part of that effort this year has been screenings of the recent movie The Million Dollar Pentagram. Otakon was one stop on this tour, and since the YouTube showings that have been happening on occasion generally include the newest films, I decided to watch here.
Conan movies are a fascinating tradition, in that they have been a thing for literal decades now, and they try to be a reliable annual staple in Japan that feels both familiar and new. The Million Dollar Pentagram features phantom thief Kaito Kid and fellow young detective Hattori Heiji, as well as a string of murders that seem to be more than just about revenge or malice. In terms of the mystery, the ridiculous spectacle of action and violence, and some surprising plot revelations that extend beyond the movie itself, I think it was one of the stronger Conan entries I’ve seen.
Magic Knight Rayearth
There was a lot of promotion and hype around Magic Knight Rayearth‘s upcoming remake, including a stamp rally. The series holds a lot of sentimental value for me, including having a wonderful memory of listening to “Yuzurenai Negai” by the original singer back at Otakon 2010, so I knew that I had to attend the screening of the first two episodes. In a time when the word isekai is sometimes viewed with derision, it’s like a breath of fresh air to have this old and reliably superb work spring back to life.
I haven’t read or watched Rayearth properly in a long time (the most was using the characters in Super Robot Wars), and Hikaru came across here as more serious and earnest than I remembered. I wondered, was my memory faulty or were there significant differences between her anime and manga depictions? Also, seeing Fuu bring up RPGs as if they were this relatively unknown thing felt delightfully quaint in 2026. And of course, we haven’t seen this many chibi transformations in decades.
Notably, they did not include the opening theme.
Vermillion Mask
I thought this was going to be a screening of the first episode, but it turns out “preview” can just mean showing a few drawings and video clips. The premise of the series reminded me a lot of The Mask starring Jim Carrey, so I asked the staff during the Q&A whether it was influenced by the film. It turns out that the author of the original manga was inspired in part by The Mask, so the animators use it for reference. (In hindsight, I should have asked whether the comic and/or the movie influenced Vermillion Mask.)
I don’t know if I’ll watch the show, but I’d like to know if any character ever says, “Somebody stop me!”
Discotek
I’m not generally into industry panels that are just about announcing new titles, but I make an exception for Discotek (and to an extent their cousin AnimEigo/MediaOCD). Being in a room full of fans who love nostalgic and obscure anime makes me feel like I’m among my people. There were a lot of welcome license rescues this time around, with the heaviest hitters in my opinion being Toradora! and Mawaru Penguindrum, the latter of which was known for having a lot of technical issues with its original blu-ray release.
A History of Anime in Mexico
In life, an easy pitfall is to assume that the way things happened in your corner of the world was also the case everywhere else. Fandom is no exception, which is why a panel about the history of anime in Mexico was exactly the sort of thing I wanted to see. The panelists—a husband with a business career that had him working in Mexico with Japanese companies and a wife who majored in history—did a great job of looking at things from both cultural and economic perspectives. They also took time to dispel some myths (crime rates did not go down during episodes of Dragon Ball Super), and to teach the audience aspects of the fandom that might not be obvious to those outside of Mexico. For example, a lot of famous Mexican voice actors with decades of experience have also worked on anime dubs, and their popularity has helped them to establish a convincing anti-AI base. Hearing about the clash between Japanese bureaucracy and the more laid-back approach to business in Mexico was also fascinating.
The Ramen that Keeps Anime Going
While I unfortunately missed all the full-on industry panels from Production I.G., I did manage to attend one by director Ueda Yoko. Rather than talk about the nitty gritty of making anime though, it was about the power of ramen. It was both informative and tongue-in-cheek, with the primary emphasis being that it’s fast and hot food that can help boost morale and lift spirits before, during, and after production.
Despite this panel being the product of an official guest it really felt like a lighthearted bit of fun from Ueda about a topic of great interest to her, as opposed to a cheeky attempt at marketing. That’s the culture of Otakon I truly appreciate.
Mecha Kaikan
One thing I missed out on by not attending last year was the debut of a dedicated space for panels and workshops about giant robot media, known as the Mecha Kaikan.
I appreciate its existence on a conceptual level, and I do like how you’re encouraged to build model kits. At the same time, I always feel conflicted when it comes to attending mecha–related things precisely because it’s a genre near and dear to my heart. I don’t want to be one of those people who judges robot panels and tries to prove my kung fu is stronger (as one Daryl Surat likes to put it), but this is also a place where it’s easy to bullshit your way through if the audience doesn’t know better.
What I will say is that I don’t think knowing absolutely everything about a topic should be a prerequisite for doing panels, nor do I think they need to be for hardcore experts only. At the same time, I’m not a fan of papering over gaps in knowledge with wackiness and implying that everyone is on the same page as you.
It’s easy to be critical when you’re not doing the panels yourself, though, so I still have respect for those who genuinely try to make good presentations.
Food
I spend some time in DC before the start of the convention every year, and 2026 was no exception. Somehow, I ended up eating a lot of fried and roasted chicken within a short amount of time! This included Peruvian-style rotisserie chicken and Chicken+Whiskey, fried chicken on a savory donut at Astro Doughnuts & Fried Chicken, and “snow-topped” fried chicken (accompanied by a bowl of rice with chicken drippings and butter) at an old favorite in Bantam King. All were good and worthwhile.
During the con, I mostly ate meals in my own hotel room, but did get some stuff at the convention center. Ben’s Chili Bowl and the caribbean food spot are still obviously overpriced yet reliable. On Sunday after the con wrapped up, my friends and I went to 2fifty, a Texas-style barbecue joint. While they were already out of many of their signature items, what remained was still quite good.
Final Thoughts
While some of it may be residual nostalgia, this year’s Otakon reminded me why it’s still my favorite. As the biggest conventions get bigger, it becomes an increasingly welcome presence. Otakon is not obsessed with either nickel-and-diming you outright (even “paid ticket” events offer some free seating) or encouraging you to spend as much as possible (though you still can if you really want to). Attending makes me feel both energized and relaxed, and I think that can’t be underestimated.
When l was a teenager, I watched a VHS tape that affected the course of my life. It featured various giant robot openings from the 70s and 80s, and while I had already been into anime and mecha at that point, it exposed me to a history and musical aesthetic I didn’t know, and it helped inspire me to explore my fandom further. If you take me to a karaoke booth with Japanese options, there is a 90% chance I will do a giant robot theme.
Many, many years later, and here I am as a fan of VTubers too. I like a great many talents, and part of that experience is appreciating those who choose to put themselves out there musically. While you can find a decent variety among those who sing if you look hard enough, however, the general tendency is Vocaloid, post-2000 anime, city pop, and newer popular songs. That’s neither surprising nor unwelcome, but sometimes I want to hear other things. Every so often, you might get something wild like “Inugami Korone covering Braiger and Ideon with Taira Isao,” but those moments are few and far between.
One day, I happened to catch a karaoke stream from a Japanese VTuber named Tsukishiro Cecil. I don’t remember what exactly she was singing, but it was definitely an older song akin to what I had heard on that VHS tape all those years ago. Since then, I’ve been following her virtual career, and it’s been a treat to hear everything from Gundam to Gunbuster to Rescue Fire. What’s more, she even has an occasional partner in robot crime named Minmo—together they sometimes work as the duo Cecinmor Z. Yes, I feel happy to be catered to by not just one but two VTubers.
Recently, Cecil made her 3D-model debut—a significant milestone for any VTuber—where she naturally sang a bunch of tunes ranging from hot-blooded to dramatic, including a couple originals of her own. She also opened up about her own history as a singer for hire on Japanese commercials and the like, a path that got detailed by the COVID-19 pandemic. It was then that she took a chance with VTubing, which has turned into a career and passion of its own (and one I’m grateful for).
What’s even more astounding is that she announced a huge collab during her 3D: two songs with one of the greatest anime singers of all time, MIQ! She worked with Cecil on covers of “Neppuu! Shippuu! Cybaster” and “Hey You” from Xabungle, two themes for which MIQ (or MIO, as she was known back then) was the original singer.
While this is similar in concept to the aforementioned Korone-Taira crossover, it has to be mentioned that the hololive talent has roughly 40 times the amount of subscribers and typically gets 10 times as many concurrent views. For Cecil to have accomplished this is a testament to her genuine love of older anime music.
I’ve already lured a few like-minded folks into following her, because you really never know what classics she might sing. If you have a soft spot for older anime and tokusatsu music, I cannot recommend anyone harder.
For the past four years, I had been lucky enough to attend the first three hololive English concerts in person. This year, things did not pan out so favorably. Between the relatively late announcement and my having already gone out to California in February for Drawn to Dawn, it was inevitable that Serendipity would end up being an online experience for me.
hololive English 4th Concert Serendipity took place on July 3 and 4 at the Shrine Auditorium in Los Angeles. It was the second full EN Concert held in LA, after the inaugural Connect the World back in 2022. This year’s special focus was on duos, with some being established fan favorites, others relatively new, and one inevitable trio (FUWAMOCO + Raora Panthera). To say that this was shipper fuel would be an understatement, but even setting that aside, it was still an opportunity to see some fun combinations mix things up a little. I for one was excited to finally see BaeRyS on stage together.
A part of me regrets not being able to witness those moments in person, but I’m also well aware that there are a lot of benefits to watching the stream, not least of which is the immersiveness. hololive has done a lot to improve the theater experience, but the flat screen can still compromise some viewing angles, and it can be hard to concentrate on the performances with everyone around cheering. Watching online is less a consolation and more an alternative, and I appreciate that.
Performances
I am not trying to sound like a cheerleader when I say that Serendipity was just packed with fantastic and memorable performances, whether it was the solos, the duets, or the bigger group numbers. Some went all out with recent originals, others paid beautiful homage to other members of hololive, and there was just a general sense that everyone had some real experience under their belts at this point and were ready to show how much they’ve improved.
Because there are so many talents involved, I try to think of the best way to discuss the concert within a reasonable length of space. To that end, I think focusing on the signature pairs makes sense.
BaeRyS
Hakos Baelz and IRyS were each in the free sections on separate days, and individually showed why they’re among the premier performers of hololive. “Snake Eyes” can truly be described as Bae’s biggest hit ever, and I found myself desperate to try to not miss a single moment of her exciting and challenging choreography while also admiring the increasing comfort with which she sings. IRyS’s “Be My Flame” saw her continue her Eurobeat journey, and it conveyed to me both her complete embrace of the genre and the way her deceptively powerful voice suits it so well.
Individually, the two are great. Together, they were one of the top acts across both days. I know they’re historically one of the most popular ships, but for me it goes beyond simply pretending that they’re in love or whatever. They have such a wonderful dynamic, and their strengths as performers have always complemented each other beautifully. Even their MC section came across as the unvarnished bantering of two close friends, the kind who finish the other’s sentences half the time, and then get it wildly wrong the other half.
AutoFister
Since their very first interactions, Cecilia Immergreen and Gigi Murin have been one of the best combos in hololive. Their chemistry comes from how they build on each other’s improvisational energy while also shoring up the other’s weak points, and this applies even to their abilities as idols. “CCGG Madness” is their first original song together, and its lyrics describe the way their joint efforts can quickly veer off whatever bare tracks they might have laid down. Cece also has a very controlled voice and a ladylike elegance to her movements, while the energetic and nimble Gigi has a voice that always feels like it’s on the edge of breaking but somehow never falls apart.
Gigi’s choice for her solo song, an original called “Enough,” spoke to the remarkable depth in her heart and mind that she often tries to hide by playing the buffoon. It was one of the few performances that utilized a projection of background dancers, and was the most creative among them by displaying the “outward” facade that masks her doubts. Cece meanwhile covered a song from hololive’s Nakiri Ayame, incorporating both a folding fan and her signature violin for a classy and elegant experience.
Bloodraven
Of all the pairings in hololive, none have been as embraced on most fronts as that of Elizabeth Rose Bloodflame and Nerissa Ravencroft. It’s baked into their starcrossed VTuber lore as starcrossed rivals and songstresses, there’s always a steady stream of Bloodraven fanart, and the ladies themselves two love to play into it, whether it’s in audio dramas, streams, or other media. That was the case here too, as they did a shared MC with a Liz on bended knee at the start, a couple near kisses, and even a flustered exclamation of “I LOVE YOU!!” from Nerissa that felt like it came right from the depths of her soul. While their song of choice together wasn’t quite romantic, the classic “Cruel Angel’s Thesis” was fantastic coming from them. They just worked very well together while sporting similarly theatrical yet tonally different singing styles. It’s also fitting that their first cover together was also from a trippy anime of the 90s, Utena.
In terms of solos, Nerissa went with the English version of her original “Oyome Holic,” as opposed to the Japanese one she performed at 7th fes. The song was intentionally designed to have official lyrics in both languages, and I’m impressed that it manages to convey such a similar feel across both. Liz came in with a direct strike on my heartstrings by actually covering “ChikuTaku.” Amelia Watson is my favorite from Myth, and I was overjoyed to see members still celebrating her legacy. It was also cool to see a vocal powerhouse like Liz tackle a song that was made for a more limited range like Ame’s, and give it her own spin.
Rocku Wawa
Aside from a mutual love of the 6-7 meme, I see Koseki Bijou and Takanashi Kiara as being quite different from each other. Biboo first made a splash in hololive thanks to her gaming skills, but has really dedicated herself to grinding her singing and dancing. Her voice has become noticeably fuller and richer, whether she’s singing Hoshimachi Suisei’s “Ghost” or her parts in the Advent song “Rebellion.” Wawa, on the other hand, made her idol qualities known well before she ever got a 3D model to show them in full, and has grown only more comfortable and confident over time with her streaming and yapping while also pushing her singing and dancing to the next level. You could see the fruits of those efforts in her performance of “Martyr.”
I get the impression that both Biboo and Wawa have strove to become complete packages in VTubing, or at least develop skills they didn’t have before. Their performance of “Tententengokujigokugoku” is where they met in the middle, and their efforts resulted in something where both stand out while not necessarily outshining the other.
BFF
As the only designated Serendipity trio, BFF (Beeg, Fluffy, & Fuzzy) inherently brought a different experience. Their choice of song, “Inu Neko Seishun Massakari” by Wasuta, was clearly picked because of the matching dog and cat motif, but Raora Panthera, Fuwawa, and Mococo are all powerful otaku, albeit with different influences and nerd origins. The conventional poppy idol feel of the song was a nice way to sync up the bouncy energy they all possess.
FuwaMoco always perform at least twice together at every event, which gives them a bit more freedom. Here, between their tried-and-true introductory song “Born to be ‘BAU’dol” and their more recent and harder-sounding “Demon’s Residence,” they got to show off their range and versatility. Raora went with her second original, “Draw,” and gave a far different impression from her first (“Gacha Gacha Adventure”). The lyrics reference the way that making art has enriched her life, making for an emotional song that was even more touching on stage than in the official release.
Last Writes
Cool ladies and dorks are in no short supply in hololive, but two of the simultaneously coolest and dorkiest are Calli and Shiori. Both individually and collectively, they brought some of the most spirited performances of the concert, notably their unit cover of Man on a Mission’s “When My Devil Rises” from Jujutsu Kaisen. The song fit their respective images, and they maintained the intensity needed to make it work. Their closing transition, where they both ran past each other while disappearing, was a first for 3D live performances in the company.
Similar to Liz, Shiori also sang something from one of my favorite hololive talents: “Red Heart.” Haachama has had a difficult year, and while I don’t know if Shiori was sending a message specifically to the Worldwide Traveling (née Strongest) Idol, I still feel blessed to have witnessed two faves get their songs. Calli, who probably has the largest discography in all of EN, performed a medley that gave a taste of how extensive her ourney has been and how much she’s come into her own as a musician and songwriter.
I also think it’s important to mention Shiori’s MC sections, which were filled with ribald shenanigans. She seems to be collecting more and more kisses from her peers, and while she claims she’s going to stop, I feel like we might get something even more eye-popping in the future.
Octo Clock
Ninomae Ina’nis and Ouro Kronii are both members who did not specialize in singing but have put in the work to create a surprising amount of music during their time in hololive. Their choices thus reflected their respective journeys. Ina, coming hot off “Drawn to Dawn” challenged herself with a song from one of the company’s best former vocalists in Amane Kanata. Kronii performed “Way 2 U,” the main single from her EP, a pop song showing gratitude for her fans with a notable amount of unguarded sincerity.
Despite not being a “singer” duo like some others, their performance was one of the most memorable of the weekend: a cover of “Bad Apple.” The callback to a certain period of weeb culture, as well as the Touhou fandom that feels in many ways like a progenitor of VTubers. Truly they know ball.
Guests and Group Songs
The solos and units were not the only performances at Serendipity.
Four guests from outside of EN made appearances: Ookami Mio and Tsunomaki Watame from hololive Japan, as well as Vestia Zeta and Kobo Kanaeru from hololive Indonesia. All of them are well known for being excellent performers, and it was great seeing them included in group numbers for both their own songs as well as others. Zeta is the standout to me because I feel like she’s criminally underrated, and seeing her in both “Make It Break it” and “Break It Down” (naming coincidence?) really brought home how skilled she is on stage.
We also saw all four EN generations do current full-gen performances. Myth did a medley of some group songs (included a favorite of mine, “The Show Goes On!”), Promise had their own medley featuring original individual songs they sang as one, and both Advent and Serendipity sang group originals. The latter two also made a deep impression at the start of Day 2 by having an Advent performance of “Rebellion” immediately followed by Justice on “Above Below.” It was functionally just two songs done back to back, but the transition was so smooth and surprising that just watching that part alone is weirdly satisfying.
It’s also where, thanks to having so many prior performances of both songs, you can really hear the work all the girls have put into their singing: Biboo and CC especially brought new fire to their voices, while Shiori’s voice sounded more comfortable (and situation generally in the middle) compared to previous performances.
A few other interesting combos and some full-EN performances to close things rounded things out. All three ENigmatic Recollection songs were great, whether it was a new and mellower rendition of “Start Again,” an opportunity to bask in the classiness of “MOSNTER,” or a chance to see some really nice choreography thanks to “Freaky Deaky Love.” The concert’s namesake song is also impressive for the way it makes singing the word “serendipity” sound a lot less awkward than expected.
Miscellaneous Notes
Watching online and watching in person are significantly different experiences, and a big part of that is what you do (and don’t) get to see. At a live performance, the eyes are allowed to wander and observe things that aren’t necessarily the thing meant to be focused on. It’s a double-edged sword, as it then creates more missed opportunities that a dedicated camera can focus on. However, there are plenty of instances, including at Serendipity, where the camera actually missed something vital.
One change I saw to the online experience was the greater use of wide-angle POVs that can capture the entirety of a group performance without pulling the camera all the way back, though at the expense of some visual distortion. There are many examples I could find where having the camera on one person misses the cool moments of another, and this solves the issue in a fairly satisfying manner. It’s one of my favorite developments for hololive concerts.
Another thing I have to give kudos about is the graphics. Unlike all past concerts (including JP and ID), the girls popped on stage with their name logos appearing first, as opposed to a generic symbol or flash of light. This meant that you could easily identify who was coming next and figure out what you wanted to do in response to that information. Similarly, the special videos showing off the next guest performer or Serendipity duo were all really great for building hype and anticipation. I really hope they keep this idea going forward.
Final Thoughts
I said this last year too, but I really wouldn’t mind the concert being somewhere besides LA and NYC, if only to give more fans the opportunity to experience these without costing them an arm and a leg.
Despite the odd timing of the concert and my inability to attend in person (as well as my struggle to stay awake during an eventful July 4 weekend), I consider Serendipity to be a real success in terms of performance and presentation. The pairings that made up this year’s “gimmick” worked in terms of both celebration and experimentation, and whenever the blu-ray for this comes out, I predict I will be watching certain performances over and over again. Also, a part of me felt that if I actually went this year, it would make me feel compelled to attend every concert in person from this point forward. My wallet thanks me, even if my FOMO does not.
The free sections are available for everyone to watch, and the paid VODs are still available for about another week. I, for one, think it’s worthwhile.
The dream of the 3D concert is a unique aspect of VTuber culture, and I’m glad that there exist organizations that help make the goal feasible for creators who aren’t part of big companies. One such group is Fantastic Reality, and this past July 4 weekend, they helped produce two in-person concerts: Found Futures and Doki Doki Rewind Time.
Found Futures
Taking place on July 2, Found Futures was an eclectic mix of indies who ranged from decently well known to top names in the scene, with a welcome diversity of music genres. There was even a bit of opera!
Among the participants were former members of the now-defunct Vshojo: kson, Henya, Matara Kan, and Zentreya. All of them might be better known for their charming banter than their singing ability but clearly strived to put on a good show (with the notable exception of Zentreya, who uses text-to-speech and doesn’t really sing, per se). Matara was also joined for one song by Densetsu.exe (albeit not using their main 3D models).
LilyPichu (whose fame predates VTubing by a number of years), performed three original songs with her signature gentle voice and a quiet confidence that elevated both her and the other talents. I recall first learning about her as an amateur voice actor gaining notoriety, and now she’s a veteran of her space! What a world we live in.
But personally speaking, the most notable acts of the night were Emiliya Fell (along with her half-IRL, half-VTuber band Virtual Signal) and Kou Mariya. Emiliya is one of the organizers of Fantastic Reality, and I admire the initiative she has taken to create this platform. I also have to shout out her song choice of “Everybody Wants to Rule the World” from Tears for Fears, because there’s a tendency in VTubing for covers and karaoke choices to be post-2000s fare or stuff that has gotten popular online in recent years.
As for Mariya, she is literally another identity of Emiliya Fell—a fact she herself revealed last year, and I am inclined to believe was referenced when Emiliya sang a refrain of “Maaariya” in one of her songs. She had previously talked about having issues with retaining the rights to Mariya after V4Mirai, but things have since been resolved, and now she is simultaneously both personas. In other words, in another parallel with the world of pro wrestling, VTubing now has its own version of the time Mankind, Cactus Jack, and Dude Love all fought in the same Royal Rumble.
Doki Doki Rewind Time
In contrast to Found Futures, Doki Doki Rewind Time had a much clearer identity upfront: a “retro music” concert helmed by the two Dokis, Dokibird and Chibidoki, the former of whom was also celebrating her birthday. The two marquee names are not exactly renowned for their singing skills, so the concert was mostly about good vibes with cool people and just enjoying these “older” sounds.
The fact that songs I perceive as relatively new were part of a nostalgic throwback did make me feel quite old: “Sk8r Boy,” “Pen Pineapple Apple Pen,” “A Thousand Miles,” “Caramell Dansen,” etc. Despite my now acute awareness of the passage of time, I can forgive it for being a great experience overall.
Among the guests were some of the biggest Indie names, many of whom had legacies that went well past their current identities. If I were to look at things objectively, the most significant appearance was that of Shachi: an artist and singer who had never been featured in a live concert as we currently know her.
While technically not a VTuber, she was at least given a visual presence in the form of a punk-rock orca with a spiked collar. Shachi sang two duets with Dokibird, with her vocals on “Thnks fr th Mmrs” being especially moving to listen to. She and Dokibird have both talked about being long-time friends, and I think it’s wonderful that they finally got to perform together.
If we’re going by my personal biases, however, I was most excited to see Doki and Dooby perform together! While they had already been on stage together at Fantome Thief’s Revenge, this felt extra special as a duet. Their cover of “99 Red Balloons” was a nice choice, and fit their voices well.
When the concert reached its encore, Doki appeared on stage with Dooby, Shachi, and the rest of the Sloppy Sisters (Mint Fantôme, Snuffy, Limealicious). Seeing all of them in one place felt special in a way that’s hard to fully describe, but it felt like both a reunion and the sign of a newer age. I only wish that Nimi Nightmare, who was part of the pre-show, could have joined them here as well.
Miscellaneous
What follows are some other thoughts and observations:
Apparently, there was a pre-show for Found Futures that wasn’t streamed. As a fan of Michi Mochievee, I wish I could have seen it.
I don’t know if something happened, but the models seemed to be missing some of the typical shading/rendering one usually sees from these models, and that’s something I’ve only ever seen happen at hololive Gen 5’s Twinkle 4 You concert a few years back. The one who seemed to end up looking best under these circumstances was Dooby, and I have to wonder if she just took a different approach compared to everyone else when designing her 3D model.
The mix of live and virtual for the band accompaniment was cool to behold, and it gave a lot of positive energy to both concerts. I already knew about Starlight Daryl from her work composing songs, but to hear her shred on the guitar was really awesome too. I heard she had some serious health scares not long after, so I wish her well in healing as well as continuing to bridge this gap between 2D and 3D.
See You Again
Both concerts are still up until this Friday, so anyone interested has a couple more days to check them out.
Also, a lot of the talents in the Fantastic Reality concerts are set to be part of a number of upcoming concerts, including Skyline Serenade in August in New York City. I look forward to what they have in store.
I don’t always know what to make of Phase Connect. It has a (not entirely unearned) reputation for being unhinged both in terms of its talents and its audience, yet it appears to be the most stable and enduring of all North America–based VTuber companies. I think Phase’s aura may be one that straddles the line between underdog success story and big player, and each of the girls conveys this in a different way that appeals to their viewers. And over the past five years, I’ve become a fan of quite a few of them myself, charmed by each in different ways.
One gateway has actually been their 3D concert; I attended one at Anime NYC 2024, and it was a nice (if at times confusing) introduction to all the performers. So while I didn’t attend the inaugural Phase Con, I did buy streaming tickets for all three of its concerts: Grand Passage, Fifth Orbit (a Gen-1 5th anniversary celebration), and Bon Voyage. Notably, these concerts featured the 3D debuts of Phase Connect’s first-generation Japanese members and the entirety of its second generation.
First things first, I have a couple small complaints to get out of the way. First, Kaneko Lumi’s solo performance was cut from the stream, presumably because of rights/permissions issues. Given that she’s the best singer among Invaders Wish, I wish I could have seen it! Second, I wish there was a package deal for the concerts so I didn’t have to pay three separate processing fees. Otherwise, the tickets were pretty affordable overall, and I was glad to support the talents overall.
Those inconveniences aside, I enjoyed the concerts. There’s a nice balance where it feels polished without being too perfect, and I think it matches well with the general Phase Connect vibe. I also liked the way each girl played to their fanbase while also being accessible to curious newcomers. As with so many VTubers, there was a spectrum, from dedicated performers to those who strived to live up to the spotlight despite it being unfamiliar territory.
Fujikura Uruka, for example, is one of the music-specialized heavy hitters in Phase. Whether it was singing “Mephisto” from Oshi no Ko solo or delivering a compelling cover of “Jane Doe” from Chainsaw Man with Lumi and Amanogawa Shiina, Uruka’s low vocals are a joy to listen to. But while her voice was an obvious strong suit, I also got a kick out of the way she moves on stage. Uruka went from big swinging limbs and bouncy steps to smooth body rolls, and looked good doing it all.
Then there’s Dizzy Dokuro. I truly mean this with no ill intent, but I am a fan of how hard she tries to make up for her lack of vocal ability with effort and planning, despite the emotional and physical toll she inflicts on herself. “The Real Folk Blues” from Cowboy Bebop was definitely an unexpected choice, and her sultry moves matched the tone of the song. Her duet on “Brave Heart” from Digimon Adventure has also put Chisaka Airi on my radar, and I definitely would enjoy seeing them together again.
Unlike Uruka and Dizzy, I only got into Amanogawa Shiina relatively recently. My gateway was actually her banana outfit; between this and the hot dog Shiori Novella from hololive, and I might be a sucker for silly costumes. With Shiina’s performances, I felt like this was a girl who can really dazzle an audience both on stage and on stream. The entirety of Phase Origins JP (Nasa, Michiru, and Iori) also ended up catching my attention. My exposure to them before this was fairly sparse, but I like their designs overall and thought their performances were really cute.
As an aside, one thing I find interesting is that someone’s first 3D model doesn’t have to be their first design. This was the case with Dizzy and her nurse uniform, but Shiina was also wearing a later outfit as well.
I think the most iconic moment of all was the first song for the Bon Voyage concert:a group performance of “Pippa the Ripper,” originally (and reluctantly) by Pipkin Pippa. A lot of VTubers eventually become embarrassed about their early songs and creative output, but unlike, say Calliope Mori and the way people cover it out of a pure sense of admiration, things are a little more complicated in this case. It simultaneously acts as a badge of shame for Pippa, a fan-favorite tune, an opportunity to troll Pippa, and an anthem of sorts for Phase as a whole. Starting off with just Uruka and Lumi, more and more of the talents kept joining in as Pippa’s voice could be heard loudly protesting until she ended up on screen and heavily conflicted and ready to fight everyone. The whole thing was really Phase Connect in a nutshell.
I don’t know if I’ll ever attend Phase Con itself, or what the future holds for them. Nevertheless, it’s been a blast seeing each person getting their 3D and then shining on stage. And for those who still want to watch, the concerts are still available to view on SPWN for a couple more days.
As one of the biggest names in VTubing, hololive has done a great deal of growing and expansion in recent years, and part of that process has involved experimentation. Some things have worked out after some bumps (such as the musical performance–focused DEV_IS branch), while others have been canceled or downsized for better (the holoEarth metaverse) or worse (Holostars). One of the latest projects goes in a new direction: a kind of preliminary branch called mekPark, where the talents are not technically part of hololive proper but have a visible and public path to there.
Recently, the two inaugural groups announced for mekPark back in May—Unit A (aka ACHRORA) and the still unnamed Unit B—finally all debuted. Given that, I wanted to give my thoughts on the endeavor thus far.
The Perils of Being at the Top
The size and fame of current-day hololive can be a double-edged sword. As with so many forms of entertainment, there is something charming and special when the stakes are lower, things are less polished, and there’s fewer expectations overall. A lot of moments become beloved memories because things aren’t perfect, and what’s missing in “refinement” is made up for in entertainers and audiences willing to bridge that gap and give some grace. I will sometimes watch the first and second hololive fes concerts, and they feel like they come from an entirely different era in a good way.
I think there’s a magic in such times that can be hard to re-capture once something becomes too big and professional, and some talents even try to fight against this. Gawr Gura was especially good at maintaining that amateur feel, and Gigi Murin revels in purposely allowing “scuff” into her streams as opportunities for laughs.
Returning to Basics
I find mekPark to be an attempt to re-create the relatively humbler roots of hololive and VTubers, albeit in a way that’s relatively safe for its company, Cover Corp. None of the girls involved have full models, which can feel unfair to them, but it also means that they can’t rely too heavily on the magic of more thoroughly rigged and animated VTuber models. Essentially, mekPark seems to be a relatively low-risk space to try new ideas and technologies, while also a way to put the focus on the talents’ personal qualities. In many ways, it reminds me of the developmental programs found in pro wrestling, whether it’s the Young Lions of New Japan Pro-Wrestling or WWE NXT. They’re given fewer resources and are allowed to do less, but they ideally learn the ropes.
Nijisanji has something similar called the Virtual Talent Academy, but one key difference seems to be that mekPark places a far greater focus on group cohesion. ACHRORA and Unit B are explicitly presented as small teams, with one channel shared by the same members of a unit, and I suspect this is because hololive has noticed how much they benefit from making sure genmates have rapport and that they feel they’re in this together. Both Advent and Justice from the English branch have mentioned actually spending time together in real life (including in Japan!) prior to their debuts.
The mekPark Girls
As for the mekPark units themselves, there’s a very clear difference in philosophy behind each one. Unit B (which actually debuted first) is made up entirely of people who have backgrounds in music and performance, but very little in streaming. Neon is a singer with a personality that’s extroverted in a way that extends to her offline life (sort of like Matara Kan). Lyra is a singer-songwriter with a passion for composing. Mira is classically trained in piano, and has been playing since she was very little on account of her parents both being pianists too.
In contrast, the ACHRORA girls clearly have experience as streamers because they convey a sense of ease that’s almost impossible to have if you’ve never done it before. Sayana has a unique voice that comes across as honed without being forced. Rirara banters with chat and her fellow unit members very smoothly. Hinami’s gentle voice (reminiscent of voice actor Hayami Saori), silly sense of humor, and debut preparation have all stood out.
Essentially, Unit B and ACHRORA represent the two paths that hololive talents tend towards, where you’re basically either a musical performer who streams sometimes (e.g. Hoshimachi Suisei) or you’re a steamer who does musical performance on the side (e.g. Inugami Korone). Both are valid paths, but in the context of mekPark, it’s going to be interesting to see how the two sides develop in comparison to each other. A music-forward approach has greater potential to appeal across language barriers, but we’ve also seen that making a human connection through activities like chatting and gaming can be crucial for getting more people to tune into you in the first place, like with AZKi and GeoGeussr. At the same time, having a less “broadcast-ready” voice can come across as more natural.
Closing Thoughts
As mekPark continues to move forward, a couple questions come to mind. First, can something as big as hololive really evoke that smaller feel it seems to be aiming for? Second, if one or more talents are faltering and floundering in some way, what will happen, especially if cutting them might be the best solution? While I really believe all six girls (and presumably their less visible managers) are doing great so far, I have to wonder about bad or awkward scenarios.
For now, I’m still optimistic, and I hope that remains the case.
Todoroki Hajime of hololive held her 3D birthday concert in June, and one of the biggest moments was a group performance of the song “Kokkara” featuring her, Hakos Baelz, Isaki Riona, and Mizumiya Su. As expected, they all showcase why all four of them are almost inarguably the best dancers in hololive, but one thing that really stood out to me is how they were given opportunities to show off their unique dance personalities.
While the most clear example of unique expression is when they each perform by themselves, one thing that really caught my attention is how they each move during the chorus. There’s this pivot/twist move that they do, and if you look closely, you can see that they each perform it differently. I don’t know enough to actually fully make sense of their individual approaches, but to me it looks like:
Hajime has her hands in different positions every time, with weight on one leg and both knees bent. It reminds me of a C-walk, but also feels like she’s drilling down with her body.
Bae also has her weight on one leg, but the other is more extended, she’s bent lower at the waist, and her arms are out like she’s doing the classic Twist. To me, it comes across almost like a sit spin in figure skating and has a clearly different silhouette from Hajime’s.
Riona does more of a shuffle in place with less of a clear twisting motion and more hip movement, and she ends with a very pronounced kick to the side. Her hands are also moving in vertical circles, like wheels.
Su seems to shift her weight back and forth between each leg, though I might be getting fooled by the fact that her left leg is really crossing over her right as she pivots. It gives the impression that Sue is very light on her feet, even compared to the others.
Additionally, in the first chorus, the four backup dancers do the choreography as well, and they also each have their own take on the move!
Incidentally, Hajime gave their names during the concert, but given her particular speech quirks, I couldn’t fully decipher them. I think they’re Hajime’s personal crew from her backup dancer days, so I think it’d be cool if someone could figure out who each of them were in other performances, including but not limited to the birthday concert.
