Ever since the original Mobile Suit Gundam, works in the Gundam franchisehave tended to end in space. Whether it’s a sequel or an alternate universe, they typically leave the confines of Earth for a big battle among the stars. But Gundam: Reconguista in G is different: It starts on Earth, has its characters venture into space, and then returns home for the final battle. This is where we find the characters in the fifth and final movie, Crossing the Line Between Life and Death, and I think the decision to conclude the series there ends up emphasizing all the messages laid through G-Reco from the beginning. Whether those messages are clearly conveyed is another matter.
Bellri Zenam and the rest of the main cast have been to the far-off Venus Globe, the collection of space colonies near Venus. They saw a society far removed from the ravages of Earth, where people are taught that war is barbaric, but who sometimes fail to see the latent barbarism in themselves. Having gone back through Towasanga on the far side of the moon, they now are in Earth’s orbit where, once again, the different terrestrial supernations are all vying for control of resources. At this point, characters and groups have switched sides so many times that it can be difficult to keep track of who’s fighting for what, but that’s less important than the simple reality that factionalism still persists. Bellri, Aida, and the others aim to head their own direction and fight their own way, neither entirely separate nor fully entrenched in any one side.
There’s one scene in particular that I think encapsulates the final film and the series as a whole: As the various forces battle in Earth’s orbit, they’re forced to undergo atmospheric entry. It’s a return to one of the more iconic scenes from the original Gundam, where rival character Char Aznable has to give the unfortunate news to one of his troops that the poor guy and his ill-equipped mecha have gotten too close to the planet and their death is inevitable. We see history repeat itself as various characters have to decide what to prioritize (attempting a safe landing, trying to get an upper hand in battle, retreating, etc.), and it feels like the folly and hope of humanity both never die.
Speaking of death, there is no shortage of lives lost. Some are more fascinating to me, like a certain character who might have actually been a Newtype. The important thing is that this person is also a dumbass, as if to say that we shouldn’t worship Newtypes or anyone who’s supposedly the next evolution of humanity and its savior. The biggest death is also so unceremonious and kind of random that it feels very fitting—a warmonger hoisted by his own petard.
One major change from the TV series is the actual epilogue, which has been expanded greatly. The new scenes emphasize the fact that changes come only in bits and pieces. Human beings, whether born on Earth or in space, seem to adapt to their circumstances, and beliefs don’t just change overnight. On top of that, many of the characters are young, so while they may have fought in many life-or-death battles, that doesn’t have to fully define who they are or will be. The ultimate message might be that people, but especially those still possessing youth, can break through all the entrenched barriers that previous generations have erected.
In looking at the Gundam: Reconguista in G movies in total, it’s safe to say that they should be the definitive way to experience the series. It clarifies and expands on the TV anime, is better paced, and just conveys more of the world and its complexities. G-Reco is able to show itself in the best light, and for those who dismissed it the first time, I think this is a great opportunity to experience one of the most unique entries in Gundam.
This past month was a real rollercoaster, not least of which was due to hololive talent Amelia Watson announcing that she will be stepping back from actively being a part of the company, and then following that with a marathon of streams. The 4th anniversary of Myth and the 3D debut of ReGLOSS were eventful enough, and now we had this. I even drew on my tablet for the first time in years. If I thought my brain was pretty filled with VTubers last month…
Amid my turbulent emotions, a new anime season is here! The amount of interesting-looking shows is actually overwhelming: Mecha-Ude, Trillion Game, A Terrified Teacher at Ghoul School!, Thunderbolt Fantasy Season 4, Love Live! Superstar!! Season 3, etc. On and on and on. I’m worried I won’t have time for it all.
And I’m still trying to watch through some old anime, like Blue Comet SPT Layzner.
I hope my supporters on Patreon are okay with how I’m doing. Thank you as always.
Having seen the anime movie The Colors Within, Kio points out how the images look euphoric and characteristic of director Yamada Naoko. There are also very few long shots, making the movie feel very personal and character-focused.
Kio describes being happy to discover that manga artist Nakano Deichi is able to make a work like h na h to A-ko no Noroi, which has a different feel from his previous works.
Fantasista mascot Sis-tan really likes Hashikko Ensemble, and shetells Kio why she likes the character Hachida Shinji so much (she also likes Orihara). Essentially, Hachida can’t seem to leave others alone, like when they’re going through hard times (e.g. Orihara, Masshy).
Kio replies that he pictures Hachida having an older sister who’s actually a yankii, and that he actually has a lot of experience with tough guys. Also, Masshy has light footwork, and knows how to interact with those who take singing very seriously.
Kio loves the Turn A Gundam novels so much, he’s read them countless times. He was originally shocked at where Tomino concluded the anime, so he was glad the novels show what happened after that. The fact that the series is all about the consequences of the foolishness of humanity is very “Tomino.” He has felt that this is the kind of thing he could not pull off as a manga artist. He also praises Turn A mecha designer (and legend) Syd Mead.
Kio did not tweet his own reaction to the death of voice actor Shinohara EMi, but he did retweet these drawings from Togashi Yoshihiro, author of Hunter x Hunter and husband of Sailor Moon creator Takeuchi Naoko.
He also had to gather a lot of old material for the talk, including work he finds embarrassing. He wonders if this is going to turn into a cringe session for him.
With summer ending and some work concluded, Kio is feeling that he should start something new. In the meantime, he declares that he will finish his doujinshi.
Kio read Volume 2 of The Kinks, a manga by Enomoto Shunji. While reading the serialized version Kio, always finds himself going “Well, that’s a first!”
The talk at Umeda Lateral also had a raffle for special signboards with art by Kio. The person who won Saki’s also happens to be an artist. Here’s Kio thanking him for some Saki fanart.
Creating a story with a good antihero lead can be a challenge. It’s all too easy to end up with a character who’s more of a shallow reactionary and whose only redeeming value is that they do bad stuff to worse people. Other times, they come across as a simple conduit for revenge fantasies against grievances. But Go! Go! Loser Ranger succeeds by establishing its antihero firmly and then having him discover a personal sense of conviction that even he isn’t fully aware of.
The backstory of Go! Go! Loser Ranger starts off like a typical sentai series: Years ago, a group of heroes called the Dragon Keepers defeated an evil organization that tried to conquer the surface world. The only remnants were the basic goons that typically attack the heroes in large numbers and get their asses handed to them before the real villains show up. Now, they’re forced into a pro wrestling–esque kayfabe where they pretend to fight every week in front of a stadium audience, not unlike the shows that take place on mall rooftops in Japan. But one mook, Fighter D, refuses to let his monster pride fade away. Despite the odds, he wants to fight back for real against the Dragon Keepers, and maybe even get revenge for all the humiliation they’ve inflicted.
In Power Rangers terms, this is basically “What if a Putty was the protagonist? And it ends up working really well, not only because it’s an interesting premise but because it’s not content to just flip the roles and leave it at “bad is good and good is bad.” Sure, the Dragon Keepers feel like they’d fit in with the highly dubious capes of Alan Moore’s Watchmen, and the generic Fighters are portrayed with lots of personality. There are a lot of gray characters in this series, and not in a boring or predictable way.
What I think holds it all together is that Fighter D is a perpetual underdog whose only skills are that he’s hard to kill and he can engage in a degree of subterfuge by changing shape. He’s not the ultra-powerful badass but someone who has to win through wits and creativity. He has to use his head, and this thoughtfulness (albeit colored by the huge chip on his shoulder) is one of the key factors for what makes Fighter D a compelling protagonist.
One key aspect of Fighter D is that his core beliefs aren’t quite what he thinks they are. He assumes that his sense of worth comes from being a loyal foot soldier who carries on the legacy of his evil masters. But as the events of the series unfold, it becomes clear that what drives Fighter D is a desire for him and his fellow goons to be treated with respect and value. He simply conflated one with the other, and this confusion leads to some great developments.
Go! Go! Loser Ranger ends up being a series that defies expectations, and it all centers around a weakling challenging the strong, albeit for less than noble causes. But while Fighter D is not a paragon of virtue, he is at least a sentient being looking to carve his place in the world. I’m curious to see what heights (and depths) he reaches next.
This interview was conducted at Otakon 2024. Uchida Aya is a Japanese voice actor, famous for playing the character Minami Kotori in Love Live! School Idol Project.
Many of my questions will be Love Live!–related because I’m a fan, but coincidentally, I was in Tokyo last December, and I visited the Love Live! cafe.
Uchida: Ahhh!
I just happened to sit at a table you autographed.
Uchida: In Akihabara!
I was wondering, for my own curiosity, do you remember when you visited to sign the table?
Uchida: I think it was December!
Love Live! Is now a worldwide phenomenon; people know it everywhere. But I know it was much less popular at first. How did you get started in Love Live!?
Before I was on Love Live!, I got my first regular role on an anime project, and the music director told me that his next project was something called Love Live! That’s how I got into it.
What was it like when you first started, and at what point did you realize it was starting to get huge?
Uchida: Love Live! was a very new creation, so there was a lot of motivation across the time. And personally, I love anime and also idols, and the fact that both those things are core to this project made me very excited. This made me want to really want to take the lead and bring it to the next level, and make this work even more fun. As it gained more popularity among fans, and as I realized more and more people were listening to the songs, it made me feel very, very happy. But because it started very small, I feel like I grew with this project, and that makes it more special.
Speaking of growth, that’s something I also noticed. I first became a fan of Love Live! through the anime, and when I looked at the prior material—all the song performances and recordings and such—I noticed that you and the other members of μ’s had grown a lot as performers. In what ways do you think your performance as Kotori, in acting but also singing and dancing, had evolved over time?
Uchida: I’m not so sure about my skills improving…I was always aiming to become a voice actor and didn’t necessarily want to be an idol, standing in front of a crowd smiling and dancing. I didn’t have any intention of doing it professionally, and it was something I had to get used to and was hesitant about in the very beginning.
At some point in the middle, we started doing more live performances, and it was a challenge. But because the other members were there and we were a team, we taught each other things—dancing, practicing, etc.,—and gradually, we acquired those skills and got better. I’m glad I had friends in the same boat with me who I could strive with and improve with together.
So you’ve performed many songs with the others, including with Hanayo’s voice, Kubo Yurika. One of your songs, “Suki desu ga, Suki desu ka?” Did the ’70s feel of the song change how you two approached it?
Uchida: It’s been quite a while, so give me a moment! So it’s a song featuring our characters, Koizumi Hanayo and Minami Kotori, and it was a duet of a kind we had never done before, so it was very fun. Hanayo-chan’s voice has a very “howaaah” fluffy and cute feel, and Kotori is a very cute character herself. So I was confident it would be a cute song.
Thank you for this interview!
Postscript
Two days after I interviewed Uchida, I managed to get an autograph from her. As she signed my copy of Love Live! The School Idol Movie, she actually recognized me from the interview. I point this out because I’ve had cases where the guests do not recognize me despite having spoken to them, and it made me realize that Uchida is indeed a pro at this, be it through her experience as Kotori or in her voice acting career. I left with an even more positive impression of her.
A few days ago, I felt an urge to write an essay dedicated to Amelia Watson. It’s something I’ve been doing for all my favorite VTubers over the past few years—using my humble platform to celebrate these talented individuals that I’ve grown to adore. However, between Breaking Dimensions, Anime NYC, a whole host of big hololive happenings in September, and me just being busy in general, I had decided to wait.
I mistakenly thought I could take my sweet time penning a post dedicated to an active, ongoing career.
Today, Amelia (Ame to fans) has announced that she will be concluding her streaming, participation in events, and periodic merchandise. While something akin to a graduation (i.e. an idol/VTuber leaving a company on relatively good terms), it is not actually one. In fact, Ame herself has mentioned in a Youtube comment that she might still show up on occasion, though this does not count as a transition to staff.
So here we are.
The Story of Myth
Let’s rewind to September of 2020, at the height of the COVID-19 pandemic and with many people around the world staying at home to prevent the spread of the virus. It was in this environment that the Japanese VTuber agency hololive announced their first English generation: Myth. At a time when so many were cooped up at home and in need of some joy, when the ability to even see other human beings in person came at a real risk to one’s life, Myth breathed life into people. The success they found might very well be forever unmatched.
Four of that first EN generation were shown to carry ancient and supernatural motifs—Calliope Mori the grim reaper, Takanashi Kiara the phoenix, Ninomae Ina’nis the eldritch priestess, and Gawr Gura the Atlantean shark. The fifth was Amelia Watson, a “mere” human detective investigating the others. Not only did she stand out as unusual in terms of her theming, but she was the last to officially debut. And from the very beginning, it was clear that she was bringing something unorthodox. Whether it was starting off with a tongue-in-cheek joke about actually being British but needing to put on a “fake” accent, or her inducing “hallucinations” in the audience through an injection of her “Watson Concoction,” Ame’s wit and imagination were on display.
The AmeWay
Ame didn’t reveal her entire character concept at debut: She’s not just a detective but also a time traveler. In the severe extenuating circumstances of a global pandemic, she began to express this facet by playing around with 3D models, VRChat, and other interesting software and technology. As fan works of Ame poured in, she commissioned artists to make variations of her: a chibi (that went on to become a mascot of hololive called “Smol Ame”), a bee, a mountain of muscles, and even recently a hand puppet.
Ame is often referred to as “creative,” and while that’s certainly true, a more detailed description would be that she pushes the boundaries of what is possible in any space she’s in through a combination of out-of-the-box thinking and sheer stubbornness. Sometimes it’s in her approach to video games. Just yesterday, she started playing on hololive’s Grand Theft Auto Online server, where she successfully got past a fence on her unicycle by riding downhill to build up momentum and crash through. During Part 1 of the hololive Minecraft roleplaying event “Enigmatic Recollection,” she could be seen trying to glitch the block mechanics to create shortcuts for herself, while also being one half of the wild “Jyonathan and Gonathan” romance story with Gigi Murin that captivated fans. Other times, it’s through her exploration of the technical aspects of VTubing. Fans call this the “AmeWay,” and it speaks to the notion that if two paths diverged in the woods, Ame would cut her way through the trees in the middle.
During that dark period when Japan was locked down and travel into the country was impossible, Ame found a way to give her and the other Myth girls their own “3D event” of sorts through VRChat, and by giving everyone a “Smol” model of their own to pilot.
Even later down the line, as the world opened up, Ame continued to push the envelope. For Myth’s 2nd anniversary, Ame set up a special 360 degree view where fans could move their phones around to explore the 3D space with her and the other girls.
One of Ame’s strengths is her interest in technology—even building her own 3D studio at home—and she provided a lot of behind-the-scenes support for her fellow talents, both peers and later generations alike. It wasn’t uncommon to hear other EN members mention her giving them computer tips or advice on what equipment to buy, or to catch a glimpse of her acting as the cameraperson in VRChat streams. Even when she wasn’t on screen, her presence could be felt.
The Road to Idol Ame
If there was one thing I really missed while staying at home during the pandemic, it was the ability to go out for karaoke. So when I started seeing that VTubers do their own karaoke sessions, I would tune in. I don’t know if Ame’s was the first, but it’s one that sticks out in my memory in a big way.
In that first karaoke stream, one thing was apparent: In a VTuber generation filled with musically inclined peers, Ame was by far the weakest singer. Constantly off-key and unable to keep the rhythm, Ame could not carry a tune at all.
It was beautiful.
For those who don’t karaoke, one thing that might be hard to understand is that singing ability doesn’t matter all that much—at least around good people. It’s about finding songs that you enjoy, giving it your best shot even if you sound like ass (speaking from personal experience here), and just having a good time with others. And if someone’s got pipes, that’s cool too—karaoke isn’t about hating. What Ame brought to that singing stream, and all subsequent ones, was that “karaoke with friends” energy. And in 2020, that energy was all the more powerful.
That spirit alone would have been enough to make me a fan, but then she hit me personally deep in my soul by singing Sixpence None the Richer’s “Kiss Me,” a favorite song from my childhood. The fact that it would become one of her go-to songs over the past four years is something I’m grateful for. And if that’s where Ame’s musical performance journey ended, I would have been satisfied. But that’s not the whole story.
Ame kept singing over the months and years, and bit by bit, something happened. She started hitting those notes a little more cleanly. Her voice wouldn’t squeak as much. She was actually improving! And while Ame had set up a bleeding-ear emote as a self-deprecating joke, fans eventually stopped using it entirely.
In the time since that first karaoke session, so much has happened. Ame got to appear on the big stage with her official 3D model at 3rd fes, putting on a memorable cover of the cute and bizarre “Puru Puru Pururin” from Welcome to the NHK! She released her own original song, “Chiku Taku” (accompanied by a video game based on it), and then performed it at two separate live events, including the first EN concert. The latter was even a ska rendition that reflected her own musical tastes, which she accompanied by skanking on stage. She had her official 3D showcase, where she got to show off her detective’s office, do cartwheels, and collaborate in person with Japanese hololive members like Haachama and Yozora Mel. At 5th fes, Ame upped her choreography game too.
Just recently, her “IDOL” duet with Gura was one of the absolute highlights of last month’s Breaking Dimensions concert. And in their recent 4th anniversary online concert, she was able to keep up well with the other strong singers of her generation and help make “The Show Goes On” the best Myth group song ever. Each step of the way was evidence of her improvements as a performer, and while she never embraced the shining lights, that’s also why she embodied the “idol journey” so thoroughly.
The Hiccup
I want to just mention this brief thing that has little to do with achievements and interests, but is inextricable from Ame’s story. There are a lot of unique things about her, but perhaps none are more iconic than her chronic hiccups that can often be heard on her streams. It’s not clear if it’s a hiccup exactly or something else, but whatever it actually is, the result is something that is identifiably Ame. What’s more, unlike a particular way of talking or laughing, it pretty much can’t be replicated. Even in this simple way, there will never be another Amelia Watson.
The Closing of a Chapter
While hololive isn’t a piece of fiction in the traditional sense, Amelia Watson is often positioned in fan works and headcanons as the “protagonist” of Myth and possibly hololive EN as a whole. A lot of it has to do with her motif as a completely human detective (albeit one unbound by time), but I think it’s also because she also comes across as very human in a different sense. She’s not anywhere near the best singer or dancer, she doesn’t have that non-stop gift of gab that others might, and while she’s definitely one of the strongest gamers, it’s not her main focus either. But Ame has ingenuity, and in a way, she’s sort of like the Batman of hololive.
I have a tendency to like creators, VTuber or otherwise, who experiment and expand the range of what is considered “possible.” That’s where Ame has thrived and why I became so fond of her, and countless others feel the same way. It’s hard to overstate just how much of an influence her tinkering and her ideas have had on the VTubing scene, especially in the English sphere. There has been a constant outpouring of love from other VTubers, many of whom are citing her as a real inspiration—especially for those who wanted to do something different than the established norm.
Personally, the timing of Ame’s announcement is kind of funny. Until literally last month, I didn’t own that much of her merch. Now, as she begins her retreat from the spotlight, I find myself coincidentally with more than I ever expected: a desk mat, figures, keychains, and so on. I even just uploaded a video of her to my Youtube—one of only two VTuber clips on my entire channel.
One thing I haven’t done is try to draw her. After all, I had assumed there was plenty of time to get around it. Maybe I need to change that.
In a way, we Teamates and Investigators are very lucky. Not only did we get four years of one of the best to ever do it, but the fact that this isn’t a full-on graduation means there will likely be opportunities to reunite with her in this familiar form. And no matter what, the thing that really matters is that the person behind the virtual avatar can find happiness in whatever form it takes.
(And there’s always the off chance we might see her without her coat in 3D.)
To celebrate the release of his new artbook, Mata Ashita, Bushitsu de (See You Tomorrow in the Clubroom), Genshiken author Kio Shimoku had a special 2+ hour talk session on September 16, 2024. The venue was Umeda Lateral, a talk and live music club in Osaka, and was title “Gendai Shikaku Bunka Kenkyuukai Umeda Bunshitsu, or “The Society for the Study of Modern Visual Culture Umeda Annex.”
Fortunately, the entire event was streamed live, and there’s an archived video available on their official site for a limited time! A streaming ticket costs 2,800 yen and lasts until September 30 JST.
While I plan to write about the talk (and the artbook) in more detail, I have not had the chance to watch it in full yet. I did take a brief look, though, and Kio actually appears in person. This is probably going to be the first time many people get to see him. Also, he showed early concept notes about Genshiken!
Sharing screenshots is not allowed, so unfortunately I can’t post his mug or those cool sketches.
I’m happy to see us go from having the man be a complete mystery, to doing an interview with VTuber Luis Cammy, to having him start a Twitter, and now this.
Anime NYC 2024 was a focal point for many areas of Japanese pop culture, but the one that caught my attention the most was the massive presence of hololive, the world’s biggest VTuber agency. Because I wanted to miss out on as little of it as possible, I prioritized it above all else, and this con report reflects that fact.
A New Date
2024 saw the first summer Anime NYC, as it moved from the weekend before Thanksgiving to the tail end of August—a controversial move because it brought potential advantages and disadvantages. Being at the tail end of the summer con season could also carry some of the momentum of other events, and according to the showrunners, LeftField Media, was that they would now be able to utilize more of the Jacob Javits Center. However, this drastic change could disrupt people’s planning for cons. Also, summer in New York City can be very hot and humid—even dangerously so if attendees have to wait outside.
Luckily for Anime NYC, weather was on their side. The weekend was probably the most pleasant the city had been all summer. The good fortune didn’t stop there either: It also narrowly avoided the curse of the missing 7 train.
Averting Train Trouble
For many years preceding Anime NYC, the closest subway to the Javits still necessitated a 15–25 minute walk (depending on how quick you were). The 34th St. Hudson Yards station on the 7 Line was specifically built to get people closer to the Javits area, making it ideal for conventions. However, every Anime NYC up through 2023 occurred on weekends where the 7 was shut down for construction, making the stop pointless. With the move to the summer, it seemed as if Anime NYC was finally going to avoid this fate—only for construction on the 7 to be announced.
Thankfully, the MTA at some point changed it so that the 7 Train would run as a shuttle from Time Square to Hudson Yards (a total of two stops). Thus, while the loss of most of the 7 Line was a real inconvenience for those coming from Queens, there as at least this little bit of good news.
This one small change mattered a lot for VTuber fans: That same weekend, hololive’s second ever English concert, Breaking Dimensions, was taking place in Brooklyn. While not terribly inconvenient due to the presence of public transportation, traveling between boroughs could still be a hassle that required some time management and perhaps sacrificing some events to get there on time. Had that shuttle train not been there, it would have been a real struggle.
Phase Connect + Mint Fantome
Before getting into the hololive content, I want to shine the spotlight on another VTuber agency that had a presence at Anime NYC: Phase Connect.
A couple weeks before the start of Anime NYC, the Canada-based organization announced that they would be holding their own 3D concert on Sunday, and that it would feature talents from their first generation, Phase Origins: Tenma Maemi, Pipkin Pippa, Fujikura Uruka, and Lia. They also revealed as a special guest the indie darling Mint Fantome, adding some significant star power.
Aside from Mint, I was only passingly familiar with a couple of them, but it was overall enough to convince me to plunk down some more cash despite expecting a busy weekend. Tickets came in two price tiers, but they did not affect the quality of the seat. Instead, the slightly pricier option meant an attendee could get a special gift, which turned out to be a random polaroid-style image (of Uruka) and a random keychain (of Maemi).
(I also bought a Dizzy Dokuro keychain on Saturday at the Phase Connect Booth.)
Though not completely sold out, there was still a sizable live audience. All the Phase girls had 3d models that matched their default appearances, while Mint (who I believe doesn’t have an official standard 3D design) went with a chibi look. The acoustics weren’t great (that’s the Javits for you), but between Uruka’s rich singing, Maemi’s versatility, Pippa’s energy, Lia’s confident dancing, and Mint’s idol spirit, all of them brought something memorable. I also got a real sense that Phase Origins set the tone for the rest of Phase Connect’s talents and their generally unhinged presentation.
The event felt less polished than hololive’s concerts, but I knew that would probably be the case going in. The moments that stood out to me the most were Uruka’s darkly comedic Self-Introduction song (about having to go against her family to pursue music), and a huge chunk of the live crowd getting up and forming a circular dance line as Mint sang the Hamtaro opening. Apparently a lot of the crowd was familiar with wotagei culture. (Security was also clearly visibly confused by what was going on.)
There’s one last thing I want to mention about Phase Connect. One unique aspect of the company is that they sell VTuber-themed coffee beans. Though I didn’t plan on getting any, I was curious about it. When I asked, though, it turned out that they had completely sold out by Saturday.
The hololive Meet Booth
The most visible hololive presence of the Exhibit Hall booth. Like last year, it featured exclusive talent streams for con attendees. Participants included members of every branch (including Holostars JP and EN), and ran the gamut of topics. Kureiji Ollie taught the crowd fan chants for popular hololive songs, Haachama and Roboco tried to make edible insect gelatins from insect powder, and various karaoke sessions had the crowd singing along throughout. The least popular times were during showcases of Holoearth—not surprising, given how those were the least interactive, and that the game still has no clear direction.
One very conspicuous thing about the booth was the large crowd that would form in front of it (which sometimes included myself). It was located near the front of the Exhibit Hall, and it would actually sometimes bleed out past the entrance. This could cause traffic flow issues, and while I don’t blame the attendees for wanting to see their favorites in this unorthodox environment, I do have to wonder if there’s a better option.
Other hololive events, like the panels and the in-person concerts, have IRL audiences, but these Meet booth showcases are like an interesting halfway point between those and the standard online streams. The physical presence of the crowd combined with the less structured and more informal setup of the broadcasts themselves made for an entertaining and comfortable interactivity that both the VTuber and the people watching could feed off of.
I find that there are certain talents who thrive in this environment. Ollie’s unmistakable enthusiasm for all things hololive was infectious. Momosuzu Nene had to overcome the language barrier, but she also showed her best side through her karaoke.
As big a fan of Haachama as I am, I ended up leaving hers early in order to catch the train to the Breaking Dimensions concert. Given that the latter started an hour late, I could have made it in hindsight, but I didn’t want to risk the possibility, the NYC subway being infamously inconsistent.
hololive STAGE World Tour ’24 Soar
Photography was not allowed at the concert, so look at these standees instead.
Ever since hololive announced that their 2024 world tour would be kicking off at Anime NYC, I’d been anticipating it. Not only was it a rare opportunity to see something that wouldn’t be streamed, but the lineup was stacked: Baelz Hakos, Moona Hoshinova, Takanashi Kiara, AZKi, Nimomae Ina’nis, Kobo Kanaeru, and Tsunomaki Watame.
Each number got the audience pumped and eager for more, and there were plenty of personal highlights. I was pleased to see Bae bring out an exciting new choreography for her song “RxRxR”; when she debuted the song for her birthday concert earlier this year, Bae simply freestyled it. Getting to hear AZKi’s singing was a real treat—she never sounds anything less than amazing. I cheered when Kobo came out for her original song (and one of my favorites in hololive) “HELP!!” And when Bae, Kiara, Moona, and Kobo performed Kiara’s “DO U” together, it made me wish that everyone else could someday, somehow get the chance to see it and be amazed.
The official call-and-response chant was: “The world is the stage!” “Soar, soar, soar!”
My only complaint about the concert was the space itself: As with the Phase Connect event, the Main Events Hall for Anime NYC is simply not great for seeing music acts. Not only are the acoustics lacking, but the seating isn’t elevated, so if the people in front stand, it forces everyone else to do so as well if they actually want to see what’s going on. Combine that with the harsh concrete floor of the Javits, and your feet may not forgive you. I actually purchased a new pair of sneakers this year to help deal with situations like this (the New Balance Fresh Foam More, if you’re curious), but I still think that’s a lot to ask of people.
holoEN Justice
It’s become tradition for the newest generation of hololive EN to make their US convention debuts at Anime NYC. Elizabeth Rose Bloodflame, Cecilia Immergreen, Gigi Murin, and Raora Panthera—collectively known as Justice—joined the event remotely, talking to the MC and answering trivia questions about New York City. It was in many ways similar to Advent’s panel from last year, except rather than doing audience polling, they would ask a few attendees up. Later, it became questions about themselves that the audience had to answer, where a correct answer would make one of the talents do a random embarrassing voice line, and a wrong one would mean the audience had to do one instead.
A couple moments that really stood out to me both involved Gigi, the self-proclaimed “Fister” of Justice. First, when in the second part with attendees answering, Gigi quickly suggested a rule amendment to avoid cheating. I think it gave an interesting glimpse into her thought process. Second, at one point Gigi had to do a tsundere roleplay, and it turned into an improv skit where she tried to pass off a cake she baked for Ceci as one she picked up off the floor after a rat had already been on it. Ceci then hit a reversal by saying she’d only eat a nibble if Gigi ate the rest of it.
I think it ran a bit more smoothly compared to 2023, and I wonder what might happen if there isn’t a new generation to showcase next year.
Shirakami Fubuki and Ookami Mio
The pair from hololive Gamers also had a Main Events panel, and it followed a similar format to Justice’s, with the added element of an interpreter for these Japanese VTubers. Fubuki and Mio asked members of the audience trivia about hololive Gamers, including the order of all four members’ birthdays. They also invited people for an English language challenge that they themselves had to answer. Every so often, Fubuki would bring out a mask of Yagoo (the hololive CEO) to get a laugh out of the audience.
The two also had a nice treat for the audience at the end, with a mini karaoke session featuring their signature songs. It made the hour feel more special.
Final Thoughts
It’s interesting to see hololive gradually turn into a bigger part of Anime NYC, and to treat it as a major event. To have both a concert at the con and a separate one in the same city on the same weekend made it feel like things are only getting more intense. The downside I see is that I actually did want to check out other aspects of the con (like the appearance of three members of the group Liella! from Love Live! Superstar!! and manga scholar Frederick Schodt), but I had to pick and choose. I don’t regret my decision, but I do wish there was more than one of me sometimes. I’m also kind of giving up on the idea of Anime NYC ever having regular hololive meet ’n’ greets.
One very important takeaway I had from Anime NYC (and Breaking Dimensions) was that it’s beautiful to see people gathered who want to bask in what they enjoy. It might sound a bit generic, but when you look at online spaces and social media, there can sometimes be an atmosphere of negativity surrounding both the VTubers and their fans. But being there live and seeing people just having good times—it feels like that is the actual core of the fandom. That doesn’t mean you’re only a true fan if you attend in person, but that this loving energy and positive enthusiasm should ideally be the driving force of VTubing.
September 11 is a day that always makes me just a bit more introspective. Sometimes I express it on this blog and sometimes I approach things more lightly—it’s really all about my mood in the moment. But given that we have another US presidential election in a couple months being preceded by a whole host of changes, it’s been making me think about how powerful fear is.
In the face of danger to your very way of life, either real or perceived, what extremes might a person be willing to go in order to deal with those negative emotions? How many people find themselves ready to throw others under the bus in times of desperation? And how many are all too willing to do so and just need an excuse? Why do we get scared of foreigners or the poor because of the possibility of petty and violent crimes, while scammers in nice suits pick our pockets under the guise of the law? And why is it so very easy to become cynical and jaded to the point of stasis and inaction, or to eagerly conflate justice with vengeance?
As frustrating as all this can be, I think I need to remember that we’re all human, and I don’t mean that in any lofty sense. Humans are both simple and complicated, and we really don’t know what anyone will do when push comes to shove. I can think all I want that I would do the right thing, but maybe I wouldn’t. Maybe I’m not. And perhaps past generations are perpetuating what worked in the past, only they’re introducing a whole lot of generational trauma in the process.
I think my wish is that whether it’s the tragedies of the past and the present, terrible actions do not instill in us the desire to take away someone’s inherent personhood—as if we’re just waiting for a group of people to do something bad so that we can paint their entire group with one brush. Criticism is important. Protest is vital. Even anger should not be smothered out just because it’s a negative emotion. But I just want people to start from the position that humanity is not a zero-sum game.
OGIUE MANIAX 