The twin VTubers of hololive, Fuwawa and Mococo, have talked before about their fondness for Genshiken. Last month, they revealed another connection to Kio Shimoku’s beloved story about a college anime and manga club.
FUWAMOCO dedicated an entire karaoke session to the otaku icon, voice actor, and moe singer Momoi Haruko. At the beginning of the stream, they explained that not only is Momoi their kami oshi—essentially their all-time favorite—but that she was the very person who introduced them to the idea of Japanese idols and the Akihabara subculture of the 2000s.
FUWAMOCO then kicked off their setlist with the opening to “Kujibiki Unbalance,” and afterwards revealed that they learned about Momoi and idol culture thanks to bonus footage on a Genshiken DVD, in which she (as part of the band Under17) performed the Kujibiki Unbalance opening! It was their first time seeing a crowd cheering together with glow sticks, and upon learning more about Momoi, connected to the fact that she was an anime fan who felt like she didn’t fit in. Essentially, she’s their idol in more than one sense of the word.
The twins proceeded further down Akiba memory lane with songs like “Mouse Chu Mouse,” “Tenbatsu Angel Rabbie,” and “Ai no Medicine.” That last one was the opening to Nurse-Witch Komugi-chan: Magikarte, a Soul Taker spin-off in which Momoi played the main heroine. FUWAMOCO even covered “NANIKA”—one of Momoi’s newest songs, for which the twins themselves contributed to the chorus!
Partway through, Momoi herself actually sent a superchat to FUWAMOCO, making this one of the most memorable karaoke streams ever. Seeing them thanked by the actual woman who inspired them to take this path, it felt like a true full-circle moment for the twin demon guard dogs of hololive. And to think: It was all because of Genshiken.
I didn’t know what to expect from “Chronicles of hololive Nexus Gate: Act 1.” Sure I’ve been to booths and events centered around hololive, but this seemed…different. It wasn’t a cross-promotion with a restaurant or anything. It was held at the American Dream Mall in New Jersey, the second largest mall in the United States after the Mall of America. And from what I heard, it was supposed to be in some ways similar to the online hololive role-playing event series ENigmatic Recollection.
The description was bizarre enough that I wasn’t sure I would make the trip in the first place, but I went just to see what the deal was. What I got was a multipurpose pop-up booth that provided five different forms of interaction.
First, it was a shop where you could buy both general hololive merch and stuff directly related to this whole Nexus Gate thing. I bought a little Nexus Gate–themed passport-style stamp booklet.
Second, it was an exhibition of fan works (art, cosplay), as well as a place to leave a record by adding a sticky note to a wall.
Third, it featured a series of brain-teasing puzzles that netted a prize in the form of a hololive STAGE ‘25 card for the hololive TCG.
Fourth, it was a gallery of the Nexus Gate concept, which was about the girls of hololive English entering a mysterious and mostly barren world.
And fifth, it was also a screening of a drama that played out like a series of visual novel chapters, all exploring how each EN member approached the element most core to their beings. Also, because I went on the last two days, we also got to see an Episode 0 that showed how everyone ended up there.
The main drama, titled “Act 1: The Portal Awakens,” consisted of script readings not unlike the audio dramas they sometimes sell on their online store, it didn’t quite have the off-the-cuff feel of something like ENReco. It was likely another alternate world where facets of them remain, blending kayfabe lore with aspects of the EN girls’ personalities established through their streams. This lasted a lot longer than I anticipated, but it was probably the highlight of the trip. I do have to say that the special miniature lawn (?) chairs set up for viewing were comfortable at first, but being on them too long was not entirely pleasant for my crotch area.
Perhaps the most interesting things were the way this other world seemed to be connected to three girls in particular: Baelz Hakos and Ouro Kronii of the old hololive Council generation, as well as Koseki Bijou. The former two seemed to recognize the world beyond the gate as being either in some primordial state of creation or nearing the end of its life. Bae and Kronii’s lines gave a lot of hints that both the rest of Council departing over the years and everyone’s desire to step back from essentially godhood would affect things significantly. As for Biboo, she seemed to hear something he others couldn’t, perhaps tying into her backstory as a sentient jewel who has a strong connection to emotions.
The biggest question to me about Nexus Gate is that if this was Act 1, where and what will Act 2 be? Are booths going to show up all over the US and perhaps the world, all situated in malls? How many will there be? What is the ultimate purpose of all this? I found it all to be pretty cool, but I can’t help but wonder what the overall goal is.
As for the curry, it was definitely Japanese curry from a mall food court
Chrono Gear: Warden of Time combines two of my favorite things: action platformers and hololive. As implied by its title, the game centers around the sardonic and leggy Ouro Kronii from the English 2nd generation, Promise. Her official backstory positions her as an overseer of time itself, and her role in Chrono Gear sees her recovering the stolen pieces of a temporal device of her own making through sword slashes, time manipulation, and other techniques.
While using the popular VTuber company as a basis doesn’t guarantee quality, I found Chrono Gear immensely satisfying to play. The basic controls can be kind of clunky at first, but it doesn’t take long for Kronii to control smoothly and comfortably in multiple scenarios and gameplay modes. And unlike a lot of platformers that basically demand precision from its players, Chrono Gear is fair and lenient even in the hardest difficulty without feeling like handholding. The stages are creative and meant to have multiple paths without being focused on exploration, similar to 2D Sonic the Hedgehog games. And as a fan of good boss fights, I’m happy this one has them in spades. It doesn’t hurt that La+ and the girls of holoX are among them.
I’m never a fan of games that make you use all four shoulder buttons, but I know that’s just common these days.
Much like the bullet heaven game HoloCure, Chrono Gear doesn’t waste its use of popular source material. It’s clearly made by fans who love hololive, and they incorporate its lore and history in creative ways that often add to the gameplay instead of just being there for flavor and fanservice. Other hololive members (notably the rest of the full hololive Promise roster) make appearances—and whether they’re friend or foe, their personalities come through in dialogue, animations, and actions. One of my favorite examples is how the time-traveling Amelia Watson (a mere human among supernatural beings and cosmic deities) has four smaller health bars instead of a single big one. There’s just a great fusion of various elements with a lot of care put into the whole package.
The funniest thing about this game is that it’s basically an extremely intricate and interactive piece of TimeRyS fanfiction, pairing Kronii with her genmate IRyS in not-so-subtle ways. But even if you don’t care about this ship or shipping in general, there’s more than enough to make playing Chrono Gear a worthwhile experience. It doesn’t demand your attention, yet it’s easy to sink in more and more hours—to beat the game, relive your favorite parts, improve your stage times/scores, or even just bask in its beautiful world.
When Baelz Hakos of hololive made a promotional video for a convention appearance in Hong Kong earlier this year, she gave an abbreviated version of her standard self-introduction. Naturally, it was subtitled in Cantonese, and the word used for “chaos” was wandeon—or hundun in Mandarin Chinese.
English: I am Chaos, the End of Ends.
Cantonese: 我喺混沌、萬物終結。
Cantonese Jyutping: Ngo hai Wandeon, Maan Mat Zung Git.
Literal translation: I am Chaos/Hundun, the Termination of All Creation
Hundun (混沌) refers to primordial chaos, but it can also be the name of a legendary creature from Chinese mythology that existed before the universe was created. It’s typically depicted as a faceless beast with many wings and feet. Incidentally, I became aware of it myself through the anime Lazarus, where it’s a plot point for a certain character.
The Hundun from Lazarus
Bae is Cantonese, and the fact that her original lore also describes her as Chaos itself makes the similarities between Bae and the Hundun more striking—both are “chaos” as concept as well as being. So I got to thinking: What if in the lore of hololive, Baelz Hakos is the Hundun under a different guise?
The backstories of Bae and her fellow members of hololive EN Promise updated a couple years ago to be simpler. All of them are essentially about how these representatives of primal forces (chaos, time, hope, etc.) have integrated more thoroughly into the human world, with Bae in particular focusing on her desire to perform on new and different stages.
Playing off this, I could see some kind of written piece about how Baelz Hakos is what the Hundun became out of a desire to interact more directly with the mortal realm. Dance (Bae’s specialty) is also a creative art that feels both controlled and chaotic, and perhaps her multiple wings and feet could manifest through her amazing dance moves.
This has just been some random fanfic-tier speculation on my part. I’m looking forward to the Promise 2nd year 3D concert in a few hours:
Anime NYC 2025, held from August 21 to 24, was the second time since the New York–based convention moved its dates to take place in the summer. The decision allows it to use more of the Jacob Javits Center, but comes at the cost of being stuck in a crowded con season, as well as the risk of unpleasant heat and humidity. Luck was in Anime NYC’s favor this year, however, as the weather was pretty much ideal despite the weeks prior being pretty dire.
As always, the convention is very concentrated on its Exhibit Hall and its events. There are plenty of panels featuring industry insights and announcements of upcoming plans, but they tend to be geared more towards promotion, with a few less business-focused gems here and there. For me, because Anime NYC has become a big event for VTubers, I’ve found myself dedicating more attention in that direction.
The Takahashi Yoko Concert
I don’t always attend the concerts at Anime NYC, which require an additional ticket purchase. But there was almost no price that would keep me from seeing Takahashi Yoko, the singer of the Neon Genesis Evangelion opening. The series has been such a part of my life over the course of decades that I jumped at the chance to hear her sing live.
Curiously, her tickets didn’t sell out that quickly, and there were plenty still available even after a small group purchase. I could see people not making the connection between Takahashi and the evergreen “Cruel Angel’s Thesis,” or that we’ve hit a point where Evangelion is considered more history than anything else among newer generations of anime fans. More for people like me, I guess.
Takahashi performed songs found in Eva such as “Fly Me to the Moon” and “Soul Refrain,” but her set was not just limited to music from the franchise. She was also accompanied by two young backup dancers, who were quite impressive. A part of me hoped that Hakos Baelz, the hololive VTuber who specializes in dance and was in NYC at this time, was in the audience and could see them. Naturally, Takahashi capped off the concert “Cruel Angel’s Thesis.”
There were some issues with the audio that took time to resolve. The acoustics of the main event space aren’t ideal for concerts in the first place, and there was something about the setup that drowned out her voice to a degree. I brought ear plugs, but had to take them out at first because I couldn’t hear her well enough with them in. There was also a tech flub on one song that forced them to restart it. In spite of all that, Takahashi’s voice was simply sublime; it sounded even better in person.
During the concert, Takahashi gave a speech in English, reading from some prepared notes. She talked about how she basically grew up with music and was going down the path of the classically trained, but various issues kept her working as a session musician. She was initially hired to sing one of the versions of “Fly Me to the Moon” for Evangelion, knowing nothing about it. At her first recording, she was accompanied by just one bespectacled man in a sweatshirt and sweatpants—Anno Hideaki. After this, she was asked to sing the opening as well.
Takahashi described her relationship with Evangelion as a complicated one, but also something she’s overall grateful for. It boxed her in, but without it, she would not have been able to achieve such success or have so many opportunities. She talked about how her favorite episode of Eva is actually 26 because of one scene in particular: In the “abstract sketch” space seen in the finale, Shinji is shown floating through an empty void with total freedom, but the lack of any boundaries makes it intimidating. He is then drawn a ground, limiting his freedom in one way. However, the boundary that exists now allows Shinji to do what he couldn’t before, which is walk and find a way. Takahashi basically feels the same way about Eva.
hololive
The VTubers of hololive have become a staple of this event. Returning to the Exhibit Hall was the large booth featuring convention-exclusive panel streams, as was the hololive World Tour (more on that later). Curiously, while past Anime NYCs have also included a big hololive panel as well, that wasn’t the case this time around.
The Booth
One big change from previous years was that the panels were spaced further apart on the schedule, which I found very welcome. It gave me an opportunity to check out other things, and helped mitigate the potential fire hazard that forms with the enthusiastic crowds. I didn’t attend every panel, but every one I did see was fun in its own way.
I’m a fan of all the holoX ladies, so I really wanted to see Takane Lui. She did not disappoint, especially when it came to karaoke, but the antics of her panel partner, Shirakami Fubuki, made it even better. The fox would bust out a 2D Yagoo mask and a pair of muscular arms on occasion, which culminated in their fitting presence during the song “Onegai Muscle” from the anime How Heavy Are the Dumbbells You Lift?
The Tombstone panel, so named because Calliope Mori is a grim reaper and Koseki Bijou is a living gemstone, had them answering “Would you rather” questions related to New York City. The NYer heavy crowd naturally had a lot of opinions, and it was entertaining to hear the VTubers try to twist logic to suit their choices.
I also went out of my way to see the hololive Indonesia karaoke relay, which had Kobo Kanaeru, Airani Iofifteen, and then Pavolia Reine. You could tell that people really love Kobo’s singing because the normally boisterous crowd was almost pin-drop silent as she covered “Mayonaka no Door,” “Cruel Angel’s Thesis,” and other tunes. Kobo was going to sing “Dragostea Din Tei” too, but a technical mishap prevented her from finishing it. Iofi amazed me by singing “Do You Remember Love?” and I even got noticed by the camera when she was looking around for holo merch.
If I had any big complaints, it would be that standing on concrete for extended periods is really tough on my feet, even though I have good shoes. It’s possible to have better flooring for a booth, and I think Cover Corp can afford it.
The World Tour
Anime NYC was selected as one of the stops on the world tour, which is officially titled ‘hololive STAGE ‘25 World Tour -Synchronize.” This is not to be confused with the hololive EN 3rd Concert, All for One, which took place the same weekend. You can read my review of that here.
The different lineup from last year brought a different energy that was less “pop diva.” With Calliope Mori, IRyS, Nerissa Ravencroft, Momosuzu Nene, and Kureiji Ollie on stage, you had a combination of dedicated singers and all-out entertainers. Personal highlights included the covers of “Shijoshugi Adtruck” and “Don’t Say Lazy,” as well as the world tour official song, “Live It Loud!” which I think does a good job highlighting the strengths of each performer.
I do have a few complaints. The first two are ones I’ve already mentioned, namely the whole “standing on concrete for hours” thing like at the booth, and the iffy acoustics of the Main Events hall. The third is what I’d consider a very mild gripe: a good amount of the songs performed were also at Breaking Dimensions last year. However, I know I pay a great deal of attention to the musical performance side of hololive, and this is less of an issue for those who watch events less often.
Each stop includes two additional guests, and New York City’s were Natsuiro Matsuri and Haachama, aka Akai Haato. Matsuri is a nice middle point between singer and entertainer, and I’m a big, big fan of Haachama in general. I was a little sad that I couldn’t see the entirety of Haachama’s panel last year at Anime NYC, and I consider myself very fortunate that I managed to purchase a ticket to Synchronize. I even brought my Haaton wearable head towel so I could represent, and spotted other Haatons (i.e. Haachama fans) while waiting in line. For the concert, she performed her first original, “RED HEART,” and its simplicity is something that goes back to the very core of VTubing in a way I enjoy immensely.
The Stamp Rally and Other Merch
There was a great deal of hololive-related goods available at the con. They had very visible representation in the Artist Alley, and the official booth gave away a con-exclusive trading card featuring the participants of the world tour, as well as a card for a stamp rally. The prize for completing the rally was a sticker set with all the ambassadors from hololive MEET ‘25, the general umbrella for conventions and other events around the world. However, it required participants to make purchases at specific booths, and if you got there on later days like I did, it meant making more expensive purchases. This is exactly why I ended up caving and getting the Hakos Baelz hoodie from Ohmonah. I had been eyeing it since July, and the quality and comfort (on top of the stamp for the rally) was too much for me. It’s so good, man.
Other VTubers
Likely because of hololive’s presence every year now, Anime NYC has also become a focal point for VTubing on the east coast. Merch-wise, big names like Sameko Saba, Nimi Nightmare, Dooby3D, Mint Fantôme, Dokibird, and Shylily were all over the Artist Alley. Ironmouse and CDawgVA also had a panel promoting a new game.
Additionally, the Exhibit Hall had a couple booths featuring Meet & Greets with smaller VTubers all weekend long. I used this opportunity to talk to Pillowdear, and complimented her for doing fun and creative ASMRs like her Easter stream. This was my second ever Meet & Greet, and I found it fascinating that you really get the gamut of participants. I saw someone who was clearly a dedicated fan of Pillow, but also people who literally had no idea about or even VTubing in general. I guess I fall somewhere in the middle.
There was also a Phase Connect karaoke event that I ended up not attending, but I did finally buy coffee from their booth. I got the Ember Amane beans, and while I also wanted Dizzy Dokuro’s, I foolishly forgot to take into account that her blatantly shilling-oriented original song made it a hot commodity. (Expect an Ember coffee review at a later time.)
Other Panels
Tsuda Kenjiro and Yu-Gi-Oh! 25th Anniversary
I attended the Yu-Gi-Oh! 25th anniversary panel, which featured the Japanese voice of Kaiba Seto, Tsuda Kenjiro. These days, Tsuda is everywhere, but this was basically his first really big role. For those who grew up on the English dub, I still think it’s worth listening to his portrayal of Kaiba, because it gives a similar yet different flavor to the character. For the panel, he did a live reading of a scene from the Yu-Gi-Oh! movie The Dark Side of Dimensions.
There were a few stories Tsuda told that I found particularly interesting:
Back when Yu-Gi-Oh! Duel Monsters was airing, the voice of Yugi (Kazama Shunsuke) was still in high school, and he would sometimes come to the recording studio in his school uniform.
When Tsuda recorded a voice-over for a Yu-Gi-Oh! video game, he saw a lot of comments online about how “Kaiba sounds so old now.” This made Tsuda want to show that he could still voice the character, and when he was asked to come back for Dark Side of Dimensions, he relished the chance.
Tsuda talked about how unlike most other shounen series, where the characters get amped up and then calm down, Yu-GI-Oh! characters are basically dialed up to max at all times. It makes recording for other series way easier by comparison.
One-Punch Man and JAM Project
I could not attend the entire One-Punch Man panel due to having to leave for All for One, but I do want to make sure story in particular is told for posterity. The guests for the panel were the members of JAM PROJECT, who do the One-Punch Man openings. In recounting the creation of the first opening (“THE HERO!!”), leader Kageyama Hironobu recalls going to his bandmates and vaguely humming the lines of the first verse without any lyrics, including the part that would eventually go Nandatten da? Frustration!/Ore wa tomaranai!—which Kageyama recreated as a series of ambiguous squeals and yells. Apparently, the other members looked at him funny and basically replied, “Are you serious?” I later found out that they played “SKILL” from Super Robot Wars in addition to One-Punch Man music. I wish I could have been there, but alas.
The Food Is Too Expensive
Like so many other convention centers, the Jacob Javits has never been cost friendly when it comes to food options. For anyone looking to save money, I never recommend anyone eat the con itself, and I do it because I see trying out different overpriced meals to be part of the experience—kind of like gambling in Las Vegas or Atlantic City. However, even I felt that the prices were getting beyond ridiculous this year. Things were close to if not exceeding $20 when they weren’t that way last year, and I will definitely bring food with me next year. Moreover, there were certain options available last year that weren’t present for 2025: Korilla and its Korean dishes were sorely missed, as was the Indian section in the food court area.
If I had to recommend one place, it would have been the BentOn stall in the Exhibit Hall. While the prices are still not great, the bento options (fish or fried chicken) are the best bet for getting a well-balanced meal at Anime NYC.
Cosplay
Final Thoughts
Anime NYC has long been trying to be the Anime Expo of the east coast, and it has succeeded in essence. It gets big guests from Japan and around the world, has a major industry presence, and it looks and feels big. If you want to attend events and see things you wouldn’t be able to otherwise, this con is generally a good place to be. However, that comes at a price, in that it can sometimes feel overwhelming the same way one might get bombarded by neon signage. The difference is that Anime NYC is like a less extreme AX, where there are fewer good things (AX being on the west coast gets it a lot more opportunities for interesting guests) but also fewer bad things (Anime NYC almost never has the really bad crowding issues of AX).
I think this is why I’ve come to enjoy the VTuber side of Anime NYC so much. While it’s definitely part of the “corporate” presence due to hololive (and other VTuber companies to a lesser extent), that side still feels very fan driven. I would like to see some of that spirit and energy on the anime and manga side as well.
Last month, All for One took place on August 23 and 24 at the iconic Radio City Music Hall. The third hololive concert also saw 15 VTubers in the Big Apple, but all was not the same. The past 12 months have seen the departure of four talents and the introduction of a new generation. Because all that has happened, the concert atmosphere conveyed an energy that was about, if not passing the torch, at least sharing the flame so that all may shine.
Overview
In terms of fame and seating capacity, Radio City Music Hall was a major step up from the King’s Theater in Brooklyn. That’s not a knock against last year’s venue, which was overall great, but if hololive EN wanted to send a message, this was certainly the way to do it. One other upside was the efficiency and courtesy of their staff. It was very clear that they were more than accustomed to dealing with large crowds, and none of the delays or long snaking lines that occurred last year were an issue.
One thing that was notably different compared to every previous hololive concert I’ve seen, English or otherwise, was that the setlists consisted entirely of songs from hololive. This was apparently a deliberate decision to highlight all the music that has been created under their banner over the years, and in that respect, they certainly succeeded. Whether it was people singing their own songs or earworms that have turned into Holocure BGM, there was a real sense of history for a company that is both still young and the grizzled veteran organization of this industry.
That said, I have to admit that I missed the anime covers and what-not a little. While I do write more and more about VTubers these days, I’m still primarily an anime fan at the end of the day, and I get a kick out of hearing virtual people bust out an opening or two.
All for One was also the first time an EN concert had all its performers in idol outfits. Before this, this was usually reserved for the annual big holo fes. Similar to the music, it does give a sense of unity, but I also enjoy seeing the regular outfits due to how unique they are. Maybe if they modeled the idol outfits to better match the bodies of the default models, I might feel differently. The other notable aspect about the visual presentation was the inclusion of lasers. They didn’t show up for every song, but when they did, it felt like Ideon launching all its missiles at once.
Lack of anime themes aside, in terms of song choices, I don’t exaggerate when I say that they managed to hit virtually every number I was hoping for. Baelz Hakos performing “Countach”? Hell yeah she did, alongside Gigi Murin and Indonesia guest Kureiji Ollie. “Start Again,” a song that features the top singers of every generation? It literally kicked off the second day. I know the setlist has at least some input from the talents, but however they decided to finalize it, I felt treated to one amazing moment after the next. The way they also mixed things up in terms of song order compared to the previous concerts was also refreshing.
Start Again
The Talents
While last year I wrote about each VTuber and their presence individually, I think All for One is better served by focusing on their generations and narrowing down.
Justice
The four ladies of Justice are the newest additions to hololive EN, and they debuted the 3D models that allow them a full range of motion only recently. All for One was their very first live concert, with all the pressure that entails. But one way or another, each of them showed a real spirit of performance.
Elizabeth Rose Bloodflame is one of the best singers to ever grace VTubing, and the strength and playfulness of her voice commanded attention, whether in her solo cover of “Stellar Stellar” or in group songs such as “Above Below.” Raora Panthera’s boundless energy was infectious, and she would do things like get in a little wiggle while disappearing off stage. During the big group numbers like the titular “All for One,” I even saw her do the monkey once, and also spin around while hopping. Cecilia Immergreen’s “Wind Up” has quickly become one of my favorite hololive songs, which she accompanied with a graceful dance, and a group cover of Aki Rosenthal’s “Shallys” saw her manifest her violin for a brief solo. Gigi Murin’s combination of brashness and silliness served her well, as her songs ranged from cool to comedic. While the latter three don’t have Liz’s vocal skills, they all work well with their limitations.
I also need to give attention to the MC part featuring CC and GG, as I don’t think I’ve ever been quite so entertained by one of those breaks. You could tell that they started from an absurd spot (GG carrying CC while on all fours) and then through improvisation naturally escalated it into anti-humor about stand-up comedy cliches and the inherent absurdity of their fan-favorite pairing name, AutoFister. Even thinking about it now, it still makes me chortle a little.
Advent
Returning for a second year, Advent is considered one of the newer generations of hololive, but they’re also no longer inexperienced rookies. Their mutual closeness has been one of their biggest strengths, and they have released the most group covers out of anyone, and are currently in the middle of releasing a whole series of lore-centric songs.
The first of those works, “Genesis,” came out a couple weeks before the concert, so I didn’t have my hopes up about getting to hear it live. Fortunately, I was wrong. This performance became one of the highlights of my weekend, and I especially love the way the song plays on each of their official back stories without sounding disparate or forced. Best of all, it’s in the free section of the VOD, so anyone can revisit it anytime.
Genesis
Like Justice, Advent has one particularly strong singer in Nerissa Ravencroft, who is versatile but is especially good at sounding sultry. One of her lines in “Genesis”—“Watch me be your diva/I’m gonna raise your fever”—leaves me actually feeling flustered, with her wide-swinging hips adding to her appeal. The twins, Fuwawa and Mococo Abyssgard, once again showcased their harmonization skills with each other and their thorough embracing of their personas. Diminutive Koseki Bijou appeared dedicated to showing that she has more than a cute side, with a surprising solo choice in Houshou Marine’s “Dead Ma’am’s Chest” and a group performance of another Marine song, “I’m Your Treasure Box.” As for their leader, Shiori, she continued a trend that started last year with her singing in a lower register that might seem uncharacteristic of her but sounds noticeably better, as well as conveying an almost nonchalant charisma that’s both graceful and awkward.
Promise
The girls of Promise have faced many challenges over the years. They had the unenviable position of following the powerhouse first generation, and if you count their past as Council, they also have lost three members over time—the most of any hololive generation. But their year has also seen some huge positive changes for them as IRyS, Ouro Kronii, and Hakos Baelz have worked to hone their crafts while being what I believe is less beholden to outside expectations.
IRyS went with “Diamond Girlfriend,” a song that is a culmination of a long and incredible journey that took her from wishing she could have her own Eurobeat song to collaborating with Motsu of Initial Dfame. But she also came full circle by singing “Gravity” with Towa and Kronii. She also sang it three years ago at Connect the World, but this different context brought it from a symbol of her “Project Hope” era to a defining song of hololive EN as a whole. With Kronii, meanwhile, the difference between All for One and Breaking Dimensions (or even 6th fes earlier this year) was like night and day. Neither singing nor dancing were her strong suits, but they’re increasingly a part of her repertoire, especially when you take into account the fact that Kronii lives outside of Japan, and thus away from the main hololive studio and its resources.
Then there was Baelz Hakos. She’s my favorite current hololive EN member, and this concert had me trying my damn hardest to not blink and miss any moment with her. The amount of training she has undergone to improve her physical fitness, her singing, and her already top-tier dancing is hard to overstate. The result was one unforgettable number after the next. There was the aggressive aura of “RxRxR” with Calliope Mori, her stylish dance moves in “Countach” (a song originally from her fellow elite hololive dancer Hajime), and Bae’s mind-boggling combination of nuance and dynamism for her solo “La Roja.” She even got to be the center for the encore performance of “All for One” to end the whole thing! I am eager to see more people learn about her.
For their group number, Promise covered “feelingradation” from ReGLOSS. This was another favorite of mine from this concert, not just because I really love the original version, but that the three just felt very cohesive as a unit. It’s also not lost on me that Bae sang not one but two Hajime songs; the Vroom Boom Duo is one of the hottest things to ever hit hololive.
Myth
As the generation that started hololive English, Myth are rightfully seen as pioneers. They celebrate their 5th anniversary this month, and a lot of All for One could be seen as giving props to them for laying the groundwork that has allowed the ones who came after to thrive. At the same time, they’re in a position similar to Promise’s in that they’ve been down two members thanks to Gawr Gura and Amelia Watson leaving in the past year. The complexion of their generation does feel different as a result, and adjusting to this “new” Myth has taken some time.
Temari
It’s pretty astounding how far they’ve come. Ninomae Ina’nis was the first solo performance of Day 1 with her original song “Temari,” and her voice has gone from cute and sweet to being capable of a haunting quality. Calliope Mori was originally all about defying expectations of what a VTuber should sound and act like, but has now become a mentor and even a standard of measure. Her music, her singing style, and even her dancing (which includes a surprisingly well done can-can) have all transformed over time, and the songs she was involved with at All for One cover that history well. The third Myth member, Takanashi Kiara, may have gotten the most love of all. Not only did she perform a short medley for her own solo and her original “Mirage” with IRyS and showcase her enticing dance moves, but Kronii also covered “Do U,” the kpop-influenced song that became Kiara’s first breakout hit.
Chimera
And as if to add to the fond reminiscence, their group performance of “Seishun Archive,” was a choice deliberately requested by Kiara because practicing for it was when she first really bonded with Gura.
Towards the end of Day 2, all three did an MC together, and it became a time to reflect on where they came from and where they’ve gone. While a part of me braces for impact when you see this much reminiscing, I think all of them have shown that they’ve come out of the last five years better than ever.
Guests
While none of them got their own solos, it’s worth discussing how much the guests—Oozora Subaru and Tokoyami Towa from hololive JP, as well as Ayunda Risu and Kureiji Ollie from hololive ID—put on wonderful performances.
Oozora Subaru’s “Hot Duck” and its lighthearted silliness contrasted with a breathtaking performance of Ayunda Risu’s “Alice&U.” The latter has long been considered a tremendously difficult song that was arguably too difficult for others to cover, but Nerissa and Elizabeth showed that they had the technical skill to knock it out of the park. Towa and Calli’s “Queen of the Night” is the best song from the MythMash series in my opinion, and getting to hear it live was wonderful. There wasn’t an Ollie-centric song during the event (which is very characteristic of her humility), but the zombie idol brought a welcome energy of excitement. A minor hiccup during Ollie and Shiori’s MC left us all literally in the dark for a few minutes, but this seemed to be more of a random mishap than anything else.
Miscellaneous
There was a whole bunch of ticket shenanigans that happened earlier this year when a bunch of fans tried to outmaneuver the scalpers but ended up making it harder for other fans to buy tickets. Over the weekend of Anime NYC, I saw people online and even at the convention center trying to sell off tickets for heavily discounted prices. While this was done with good intentions, I think one of the major failings was assuming that all fans of hololive are active on Discord or even use it at all.
Moving on from that, each night ended with a credits roll, as is typical. However, one funny thing for me personally is that I recognized the font used: Marker Felt Thin. So if you want to ever replicate the All for One credits, here’s your starting point.
My last unorganized thought is: Houshou Marine sure is popular. Even though she wasn’t involved with the concert directly, she probably got more songs of hers into All for One than anyone else, barring Kiara.
Overall
To say I was happy with how All for One turned out is a gargantuan understatement. I came out of it with my feet aching but my heart full. Despite all that transpired in recent memory, this was a really strong showing for the ladies of hololive English.
I benefited immensely from it being in New York at Radio City Music Hall, but I really wouldn’t mind it being somewhere else—even on a different continent. I want more people to have this experience, and I’m willing to settle for streaming tickets to give it to them.
The revolving sushi restaurant chain Kura Sushi has been doing a collaboration with hololive, and I decided to check it out. By the time I got there, the available merch was done, but that was okay. My real goal was to taste the hololive-themed sushi.
Ouro Kronii’s “Tuna with Avocado Cream Cheese, which pairs soy-marinated tuna with avocado and cream cheese over Kura’s specialty sushi rice.”
The spokespeople for the collab were Ouro Kronii, Ninomae Ina’nis, and Gigi Murin. I don’t think there was any particular rhyme or reason to these three being the reps, but the official art was cute and I rolled with it all.
Gigi’s “Salmon & Tamago Spicy Roll, made with spicy salmon and tamago atop a shrimp mayo roll finished with panko crunchy flakes.”
One strange thing is that when I first sat down, only Kronii’s and Gigi’s were available. About 40 minutes in, though, Kronii’s ran out and Ina’s became available. Of the three, I liked Gigi’s best because it was the most esoteric and involved the blending of many flavors.
Ninomae Ina’nis’s “Spicy Crunchy Squid, featuring squid tempura topped with spicy mayo, eel sauce, and bonito flakes over Kura’s specialty sushi rice.”
Aside from the collab sushi, all items on the conveyor belt were the same price. This made certain items seem very much not worthwhile, and almost like pity options for those who might not be all that into sushi.
I ended up getting a $5 coupon, but it ended up being a pretty expensive dinner, so I don’t know if I’d go back just to use the discount before it expires. Despite that, I think this one trip was a fun outing, and I appreciate being able to try some nifty nigiri.
Before July of this year, I hadn’t been to a baseball game in a very, very long time. My last trip was as a kid, with a friend from school. Since then, baseball hasn’t really been on my radar. But when hololive announced that they were doing a second collaboration with the LA Dodgers on the same day as the Virtual Vacation 2025 concert, I figured why the hell not. The three VTubers participating were also another friend’s favorites, so it worked out.
Before talking about my experience, I will say that there are a few factors that make my experience likely atypical. First, because I already had tickets for Virtual Vacation 2025, I had to leave early to make sure I could get there in time. Second, Takanashi Kiara’s birthday concert was also happening during the same time frame, and I didn’t want to miss her first ever performance with La+ Darknesss. My attention was divided in a few different directions, and even the amount of downtime in baseball doesn’t exactly justify it.
In the days leading up, I looked up how to get to Dodger Stadium via public transit. This being LA, the answer was “lol.” Or more specially, you have a choice between a train that puts you ¾ of a mile away or a bus that puts you half a mile away. You need to take a car or taxi of some kind.
Everyone who bought tickets for the hololive event had to line up at a specific entrance, in the blazing early afternoon sun with little to no shade. That’s when I learned that you basically bring water just for the line. There was also a bit of a scare that security was confiscating penlights despite them being officially permitted, but it wasn’t an issue by the time I got there. Right after the security check, I received a packet with the three exclusive hololive x Dodgers baseball cards featuring Ninomae Ina’nis, IRyS, and Koseki Bijou. This alone made the trip worthwhile.
Once inside, two things I noticed were the festive environment before the game and the sheer size of the stadium.
Baseball fans were chatting, having lunch, dressed with the colors of their team and having a generally good time. While the only cosplayers there were hololive fans, the atmosphere reminded me of Anime Expo, which was happening the same weekend. I sometimes talk with friends about the high that comes from being at a convention, as well as the “crash” that comes from having to return to our regular lives, and what it might be like to be at an anime con all year round. While it’s not exactly the same, I imagine that having season tickets to your local baseball team (or perhaps just one of the massive ones like the Dodgers) would feel close to it.
In regard to the size of Dodgers Stadium, my seat was in the nosebleed section. I didn’t think it’d be too bad it took multiple disconnected flights of stairs and a couple escalators to get there. While there was an elevator option for parts of it, the line for it was massive. I felt bad for anyone who had mobility issues. Also, because the venue is so large, I couldn’t try all the interesting food options (sushi, takoyaki, etc.) because heading to any of those stands would’ve been a trip in itself. I will say the view from the cheap seats was still very good, though the internet service for my phone wasn’t so hot.
I heard stories about the massive bottleneck for merch at last year’s Dodgers event, and how some people missed the entire baseball game because they were standing in line the whole time. This year, the folks in charge of the event clearly learned their lesson by having many more shops carry the hololive collaborative goods. This had the benefit of allowing me to get my seat before the first inning, but it still took over half an hour, and I ended up missing the first pitch by Cover Corp CEO Tanigo “YAGOO” Motoaki as a result. I ultimately decided to purchase an IRyS t-shirt because I always wanted one, though I was taken aback by the cost: over $60. Even the more expensive anime and hololive shirts aren’t usually quite so pricey. After getting a Dodger Dog and a commemorative plastic cup, I made it to my seat.
I have some memories of the last time I attended a baseball game, but I don’t recall it being such an audiovisual bonanza. There was a lot going on besides the actual hitting, throwing, and catching of balls, and it felt like the whole of Dodger Stadium was a multimedia diss track shit talking the opposing team. I understand that bias in favor of the home team and against the visiting team is normal in sports, but this felt like another level. The organ would play funeral music every time the Dodgers pitcher struck a player out, and at one point, the jumbotron would put graphics of Dodgers caps onto Houston Astros fans to “improve” their appearance.
As the Dodgers started to fall behind, I could feel the energy in the stadium gradually deflate a little. Shohei Otani was indeed playing, but he didn’t do terribly well that day. The Dodgers caught up a bit, but as I found out later, they wound up losing the game by a couple points.
Every so often, Ina, IRyS, and Biboo would pop up on the jumbotron and say a few encouraging words. Unlike last year with Gura, Suisei, and Pekora, the three did their appearances using their 3D models (as opposed to their 2DLive models). It was fun but also kind of surreal to see them up there. I stuck around to watch the girls sing “Take Me Out to the Ballgame” before having to leave to make it to Virtual Vacation 2025.
Here is my recording of their singing, albeit one with lots of obstruction from other attendees. It’s definitely not the best choice if you want to see it, but I’m including it for posterity.
If the stars had not aligned in certain ways, I probably would not have gone, simply because baseball isn’t my thing. Even if all my favorites got together, I don’t know if it would justify the trip. Nevertheless, I was fascinated by the experience, and there is a certain joy in going to watch something different where people gather together. Maybe this is my excuse to check out other sports. Who knows? Perhaps we could get a re-creation of the Rinkside Rivalry audio drama.
The past two months or so might be the most significant period in VTuber history since 2020 and the pandemic. During this time, we saw major changes in every corner of the scene.
Roca Rourin of Idol Corp returned to social media after being hospitalized for months
Phase Connect debuted three new Phase Invaders: Clio Aite, Mari Mari, and Eepy Sleepy
The disastrous new tariff policies have made buying merch (including celebratory merch for graduations) devastatingly expensive for American fans
VTubers are leaving companies, reviving in new (yet oddly familiar) forms, making cameos in their old companies, and even sometimes getting dragged by their peers. So much has happened that it can be difficult to wrap one’s head around it all. The timing of it all might be coincidence or just the result of the Japanese fiscal year starting in April, but having it all hit at once magnifies the emotional impact. And this is without considering all the different big concerts or the departures and returns that occurred earlier this year!
Gawr Gura’s “Ash Again” came out basically on the same day as Michi and Kuro’s “Deja Vu.” Gura’s is an expression of the turmoil she felt while being in one of the top companies as one of the world’s most popular VTubers. Michi and Kuro’s seems to refer to their mutual pasts as part of another major VTuber company. The talk of pain and renewal from two or three different-yet-related perspectives feel as if they are engaged in a conversation, even if it isn’t intended that way.
Shion and Mumei graduated within 48 hours of each other, and both went out singing songs named after themselves. Shion’s is new and the kind of sweet but tearful tune expected of graduations, while Mumei’s is older but is still a moving song that talks about fading into and out of memory.
Gura and Mumei both had mini concerts instead of full ones, owing in part to the challenges faced by the hololive members who don’t live in Japan and therefore don’t have easy access to the company’s 3D studio.
With Matara Kan and the newest Phase Invaders, we see the exit of a member of a company that emphasizes independence, as well as the folding in of previously indie VTubers who largely hold onto their identity and don’t have to tiptoe around who they were before. The indie vs corporate line gets further blurred.
Amidst all this, seeing Ame and Chloe, even if only for a moment, was like a breath of fresh air. It also made clear what affiliate status can accomplish in hololive, as there was some uncertainty what it meant versus as a normal graduation. While some fans and talents might prefer a clean break, others might appreciate the possibilities that come with staying connected to hololive.
Meanwhile, Ruka and Nimi each showed off a model that was designed by an artist that has worked for hololive. The designs are different in many ways, not least of which are changes to the eyes and the subtle personality differences that are implied by those differences.
And while I’ve always wondered, given VTubing’s similarities to wrestling, what a VTuber heel would be like, I guess I’ve gotten my answer via the Sinder drama. Only, I wanted it more in the form of kayfabe and less in the form of backstage politicking.
Altogether, this feels like a reminder that VTubing is still a very young field of interest, realistically less than 10 years old. The most enduring people and groups might be gone tomorrow, and it might be better for fans to accept this possibility even if it hurts. But while it’s often said that fans should express their support for their faves because you never know when they might be gone, I think it’s important to show at least some moderation in terms of not letting an obsession turn into bitterness if things don’t happen the way you want. One should ideally emerge from this situation empowered by their time spent watching and cheering for talents, though I understand that’s not always possible, especially if the circumstances are extremely messy.
I have no idea what the future holds, but it might be good to step back and take a breath before moving ahead.
Hololive’s Gawr Gura, the world’s most subscribed VTuber, recently released one last project before her departure from her agency: a music video for an original song titled “Ash Again.” It’s a powerful work that Gura described as essentially baring a piece of her soul to the world.
Since then, I’ve found myself playing it over and over again. I dwell on its haunting tone and lyrics, to the extent that I even woke up one morning with its words in my head. “And they all say, tear it down, burn it down.” And as I’ve listened, I’ve also come to a conclusion: “Ash Again” is art in the truest sense.
I generally have a very lenient definition of “art,” and don’t need things to be deep or abstract or be worthy of a museum or even a refrigerator door; expression creates art. That said, I think VTuber music exists in a space where lots of elements mingle. There’s the influence from Japan’s idol culture. There’s the clear overlap with Vocaloid culture, including the fact that many VTubers (including Gura) often cover Vocaloid songs or have Vocaloid producers make new songs for them. There’s the fact that VTubing is a space where one person might perform as a way of emulating the glitz and glamour of a professional or as a present to their fans, while another person releases critical hits on a regular basis. Deeply personal and melancholy songs can come from a dedicated musician or even someone who is much less musically inclined.
It’s therefore not fair to judge all VTuber music by one standard, but it also means that a lot of VTuber music isn’t aiming to communicate complicated emotions like the ones found in “Ash Again.” The song conveys a pain so specific to Gura that, while likely relatable to many people on some level, could not have been made by anyone else.
For me, what is made crystal clear by this song is that Gura has often been in a dark place these past five years, and that she has both gained and lost a great deal. The opening lyrics talk about how she’s always being told that the memory of her is fading, and that she’s heard it all before. The music video shows her trapped in an enclosed, barren room as she struggles and lashes out while trying to create. It seems to say that there has been a crushing mixture of internal and external pressure on Gura, yet the fact that the outside forces are never explicitly identified makes me wonder what she has witnessed and experienced.
I’ve seen the negative comments towards Gura: the ones filled with venom from trolls who acted like her absences were grave sins against their very existence, the ones that accuse her of being lazy and ungrateful, and the ones that try to argue that her success was all a matter of lucky timing due to the COVID-19 pandemic. However, the line “Don’t tell me everyone around is waiting” might also imply that the fans who were trying to be supportive with the best of intentions inadvertently added to her anxiety. The words could even be interpreted as coming from hololive itself, as many talents from the company have said that there’s a lot more to working for them than just jumping in front of a screen and streaming. This ambiguity opens it up to a lot of readings, but it also gives this sense of an amorphous demon of the mind.
The music video features two versions of Gura fighting each other. One of them wears what I see as an Atlantean outfit, while the other is in her familiar and iconic hoodie. The former looks beaten down and fed up, while the latter is concerned but still possessing light in her eyes. I see the former as not just representative of her negative emotions, but also her past self before she became “Gawr Gura”—the person who was once blessed and cursed with a different form of success, and who she might return to being when she leaves hololive. I think the fear expressed by the hooded Gura is the notion that this figure we’ve all seen these past five years is fleeting and that her “true” and troubled self is what will remain.
But then, as she sinks deep into the ocean naked, the lyrics give a sense of a girl who’s slowly realizing that what she’s accomplished is as much a reflection of herself, and that her accolades are anything but empty. “No more hands upon my words, they only speak for me” seems to imply that she’s felt the need to keep quiet about some things until now. Then comes my favorite lines of the entire song: “For all the ones who try to silence thunder, I’m the wave that pulls you down and under.” It’s as if this is the moment that she realizes how strong she really is, and that she’s bigger than the voices trying to hold her back or drag her down.
This is followed by silhouettes of all her genmates in hololive English’s Myth supporting her and bringing her back to the surface, and crucially, this includes Gura helping Gura herself. When the hoodie Gura re-emerges from the sea, she’s able to overwhelm and defeat her other self, who is shown to be more frightened and tired than bitter and angry. In contrast to her violent rejection at the beginning of the video, Atlantean Gura then moves to embrace hololive Gura, and the two seemingly become one. Now solely in her Atlantean form, she makes her way to a door and opens it to leave. I interpret this as Gura finally accepting that who she’s been in hololive is as much her true self as anything that came before, and that she realized this with help from her friends in hololive.
It’s very possible that all of what I wrote is me projecting onto Gura what I want to see, and that it’s just another example of parasocial behavior. At the same time, it’s undeniable that what “Ash Again” conveys is not the same as the other final songs from graduated talents. While it does express sadness and gratitude, the primary feeling is not one of nostalgia, but one of fighting inner demons—or as Gura would put it, brain worms.
I ultimately was compelled to write about “Ash Again” for a couple of reasons, despite having just posted my tribute to Gura days earlier. First, the song simply struck a chord with me on a very deep and resonant level, and I didn’t want to leave these feelings undefined. Second, amidst all the negativity that can persist in a space like VTubing, I’ve been wanting to more concretely praise the people who have decided to challenge this vast frontier, and who have inspired me in their own ways. After seeing all these graduation, hiatuses, and even sometimes tragedies, I want the people behind these VTubers to know that they’re appreciated.
OGIUE MANIAX 