Sometimes, I think about how so many members of hololive have “other personas,” and I don’t mean past lives as other streamers or entertainers. More than simply being a yandere-esque hidden side, they’re more like split personalities or alter egos. Some come from lore, while others are developed over time. It really reminds me of what we see in pro wrestling.
Haachama, Eater of Worlds
Akai Haato, aka Haachama, is arguably the most famous example of showcasing alternate identities. What began as a conscious decision to move from low-key tsundere schoolgirl to unpredictable eccentric eventually turned into an interactive narrative, and then as two possible ways for Haachama to stream. You never know which one you’re gonna get, and it gives special meaning to her self-proclaimed title of “World’s Strongest Idol.”
While I once compared her to Brian Pillman and Matt Hardy, this versatility also reminds me of the late Bray Wyatt, who drastically evolved his gimmick over time to feature multiple contrasting identities. At one point, he would switch between being a disturbed children’s show host and the otherworldly Fiend. Before that, he was a bayou cult leader. Every time, it felt like a grand opportunity to peer into an unpredictable mind, and this is what Haachama brings as well.
Moona Hoshinova and Gawr Gura, and their Demons
Moona from hololive Indonesia is supposed to be a college girl who also works as an idol and a singer. According to her official bio, she is sometimes taken over by another self called “Hoshinova,” who has a deeper voice and a sadistic streak. The transformation is best showcased when she performs her original song “High Tide,” further emphasized recently by a change in eye color. It’s as if having the two sides allows her to be both silly and serious.
Similarly, Gawr Gura has her “red version.” It wasn’t originally part of her lore, but it became a feature of her character with the release of her original song “Reflect.” This facet is part of the song’s lyrics, and even factors into her animated short Shark’d. Red Gura doesn’t appear often, but when she does, it’s special.
Because their alter egos appear more rarely, they bring to mind wrestlers like Jushin Liger and Finn Balor. Each has had a special transformation where they get more fierce: Kishin Liger and The Demon, respectively.
Ayunda Risu and Shirakami Fubuki, Masters of Versatility
Moona isn’t the only hololive Indonesia member to have two contrasting sides: her fellow genmate Ayunda Risu also divides herself between being the high-pitched Risu and the silky-smooth Ayunda. Over in Hololive Japan, fox girl Shirakami Fubuki sometimes turns into the darker Kurokami Fubuki. In both cases, the transformations highlight the vocal talents of the performers. Risu is regarded as one of the best singers and possesses impressive range, while Fubuki is famous for her impersonations.
These transformations are similar to the difference between Mutoh Keiji and his other self, the Great Muta. Unlike so many other transformations, Mutoh and Muta actually wrestled different styles—not unlike how Risu and Fubuki can significantly change their voices.
The Many Faces of Amelia Watson
The time-traveling detective has gone a different route by creating an entire story built around a multiverse. According to herself, Amelia is just one of an infinite number of Amelias whose ranks include smol gremlins, bees, muscular hulks, and more. Here, Amelia shifts her personality slightly and treats each model as a different entity, but they’re all fundamentally the same persona.
In this way, Amelia resembles latter-day Mick Foley, who would wrestle as all his various gimmicks: The violent Cactus Jack, the disturbed Mankind, and the groovy Dude Love. And like how Mick once actually appeared as all three in a Royal Rumble match, it was once not unusual for Ame to feature her parallel selves. These days, it happens much less often.
Other Occasional Gimmicks
There are a few who will have creative costumes meant to be alternate selves. Inugami Korone has her fur ball model. Kureiji Ollie has Olivia (see above), a meek human version who never died. Takanashi Kiara sometimes has her stream taken over by Frogiwawa, a gun-toting amphibian version of her.
These I would consider similar to one-off jokes. Elias once became his brother, Ezekiel. Braun Strowman once came out in nerd glasses claiming to be a sibling named Brain Strowman. This approach makes for a bit of enjoyable mirth.
The Power of Possibility
I think the consequence of these alternate selves is that it allows a greater degree of creative freedom and a chance to experiment. Just like in pro wrestling, doing this seems to help prevent a VTuber from getting too boxed into being a specific way no matter what. It can help break up a sense of monotony, and hopefully just make things fun and fresh for the creator and audience alike.
Over the past few years, hololive Super Expo & hololive fes (a combination convention and live music event) have cemented themselves as the premiere event of not just hololive, but all of VTubing. This year, “hololive 5th fes. Capture the Moment” bookended an incredible 365 days that saw the debut of two new generations, a swathe of 3D debuts, and other milestones all culminate in a whopping four-concert series.
The big visual change this year was a new triple-stage setup for the live audience. By having three stages (one in front and two on the sides), it gave the chance for different sections of the crowd to have a better view of the action at different times. This didn’t matter much to anyone like myself who was watching via the live stream, but I appreciated the effort on behalf of those attending in person.
In anticipation for 5th fes, I watched the Blu-rays of the previous years’, as well as videos of other concerts. While this year’s event was indeed bigger than ever before, it also really felt like the latest point in each VTuber’s journey. Seeing the progress of your favorites is a part of the idol experience, but what I find notable in this situation is how hololive encourages the fans to meet the talents “where they are.” Improvement is relative to oneself rather than absolute, and can consist of circuitous and unpredictable paths.
Because there were dozens and dozens of hololive talents involved, I will only be writing about a handful. That said, even if I did not include your favorite, you might be able to find them fitting into one of the categories below.
Debuting on the Big Stage
For the 3rd generation of hololive Indonesia, this was their very first hololive fes, marking a major milestone in their VTubing careers.
Kobo Kanaeru showcased her versatile singing voice and her boundless energy. Vestia Zeta displayed her sleek dancing but decided to go a cuter route compared to the hip-swaying routines of her 3D debut. Kaela Kovalskia went a simpler and more subdued route that fit her “gamer grind” persona. The range in their personalities was on full display, especially when performing the ID gen 3 group song “Save Our Hearts.”
Making Strides
Some talents, often by their own admission, are not the best singers or dancers. However, it was clear from their performances at 5th fes that they’ve taken steps to get better.
Himemori Luna has been known for her nonexistent stamina, once even needing to literally sit down in the middle of a performance while everyone else continued. At 5th fes, though, Luna was like a new person, showing no signs of severe fatigue. On top of that, her song choice—“Kamippoi na”—was a far cry from the cute and bubbly tunes she typically prefers. The contrast between her famous baby voice and the eerie feel of the number was a pleasant surprise.
Amelia Watson was originally so down on her own singing that one of her YouTube stickers is a bleeding ear. But many karaoke sessions and one original song later, things have changed. At 5th fes, she covered “Sugar Song and Bitter Step” (the ending theme to Blood Blockade Battlefront), and went full-on idol for it, not only showing better vocals but also including dancing a more complex routine compared to previous concerts. Amelia’s karaoke streams are among her most popular because they feel like going out to sing with a friend, and she maintains that feel on the big stage even as she develops.
Pushing the Limits
Progress didn’t just come from those who were lacking ability, but also those who were already highly skilled and took things to the next level. For example, Inugami Korone has gone from a front walkover flip two years ago, to back-to-back cartwheels last year, and now a fully unsupported side flip.
I’ve devoted many words to the mesmerizing performances of La+ Darknesss, and I think 5th fes is her best ever. Her song of choice was her first original, “Aien Jihen,” and its inclusion has a special importance. La+’s first performed it during her 3D debut, and it was when fans realized what a phenomenal dancer she is. However, she used a pre-recorded track due to the difficulty of the choreography (which she came up with herself!). At Waku Waku Dark Nightmare (her Nissin- sponsored solo live), she managed to both sing and dance at the same time, but the audience was all online. This time, La+ was there in front of a crowd of 11,000+—and she killed it.
Additional adjustments to the choreography made her look even more crisp, her voice remained mostly strong throughout, and her overall movement felt more intricate and daring than at 4th fes. In her own words, La+ thought the 5th fes “Aien Jihen” was stronger compared to at Waku Waku Dark Nightmare, and I’m inclined to agree. I’m happy to have seen my favorite hololive song performed so beautifully.
Takanashi Kiara is a similar case. When Myth, the first generation of hololive English, first appeared in official 3D at 3rd fes in 2022, Kiara made a big impression. There was no doubt that she was one of the best dancers in hololive, as she displayed a level of grace and confidence few could match. Then, at 4th fes the following year, an amazing debut performance by Hakos Baelz actually prompted Kiara to declare Bae the best dancer in EN. Over time, other strong dancers have also joined hololive, and it felt like Kiara was getting “powercrept,” so to speak.
Then Kiara went on stage in 5th fes and blew away all prior notions. While singing a brand new song, “Chimera,” she moved in a way I’d never seen from her before. Most (all?) of her prior choreographies have been arranged by an expert dancer named kianna, and Kiara’s “Chimera” looked closer than ever to matching that professional level. It really felt like Kiara was out there to show the world that you can never write her off, and that she was willing to put in the time and effort to prove this point. Watching in the moment, I wondered if Kiara might shine brighter than everyone else this year.
Changing the Conversation
Then Hakos Baelz came in and showed how pointless comparisons could be. By that, I don’t mean that she was inherently or objectively better than Kiara or anyone else, but that she decided to flip the script in a way that rendered such discussions moot.
Ever since her first 3D appearance at 4th fes, Bae has brought a very high level of quality and energy to every performance. Because she has been so consistently great, however, it became a question of how she’d be able to outdance herself this time around. Add in the fact that Bae herself commented on how her plans could potentially result in a flop, and fan speculation was all but inevitable. What feats of dance would she show this time?
To my (and it seems everyone else’s) surprise, Bae went in another direction entirely. Eschewing the high-octane routines she was known for, Bae went for a slow and passionate interpretive dance set to “Uta yo” (aka “Gales of Song”) from the Hosoda Mamoru film Belle. Watching her, I could feel my emotions welling up in response to her sublime choreography, the shock of seeing something so unexpected, and the boldness of Bae’s decision. Moreover, her voice was haunting in a way we rarely hear from her.
The next day, when she performed again for the hololive x Honeyworks stage, Bae did something more typical for her, and the contrast between those performances makes her sheer ability all the more impressive. Later, Bae also said that 1) she’d never done interpretive dance before this and 2) it takes her only about 2 hours to fully learn a choreography. It all goes to show how ridiculous she really is.
Returning in Style
In a few cases, certain performances were like reunions. Some of the hololive members have spent time not using YouTube and social media, and their circumstances meant that their presence at 5th fes ended up being reunions of sorts with their fans.
Murasaki Shion has been on hiatus for the past few months, and this was her first public appearance since she went on break. The roar of the crowd felt like a big “welcome back,” and seemed to communicate the idea that her supporters are there for her through thick and thin.
But while it was already known that Shion would be there, there was actually one talent whose performance came completely out of left field. Last year, Haachama ended up in the hospital not long after 4th fes, and she had to take eight months away from streaming. Because so much time had passed and because there wasn’t much time for her to practice after she did return, Haachama was not scheduled to be at 5th fes.
Then, without any anticipatory fanfare, Haachama blinked onto the stage. Watching the stream, I could hear the slight delay as general confusion in the crowd transitioned into pure excitement. Haachama sang “Idol,” the opening to Oshi no Ko—a song whose content fits an unpredictable girl who declares herself to be the “Worldwide Strongest Idol.” At the very end, she transformed one of the lyrics into a shout of “I love you!” as if to show her gratitude to everyone watching.
There was one other reunion of sorts, though it was more like a story going full circle. One of the last songs of the event was “Last Frontier,” performed by Hoshimachi Suisei and AZKi. The two are among the very best singers in the entire company and naturally sounded amazing, but the song also has a special significance: It was originally written by AZKi for Suisei when Suisei was transitioning from hololive’s INNK music label to the main branch, and AZKi was considering retirement. However, both have stayed with hololive, and Suisei even secretly rewrote some of the lyrics to go from being about sending someone off to achieving new goals together. When Suisei then read out a letter to AZKi about their time together, AZKi couldn’t hold back her tears.
Final Thoughts
It’s funny seeing just how massive hololive has gotten. In those earliest blu-rays, it’s clear that this whole project was a much more humble affair. The concerts were just decently large (but not gigantic) crowds of people in front of screens displaying their favorite VTubers, and actively buying into the illusion presented. Now, everything is so slick that it feels like another world. A bit of the intimacy has been lost in the process, but despite that one drawback, I think this change has been good for hololive and VTubing as a whole.
All the different journeys detailed above, combined with the variety of performances, made for an emotional rollercoaster. There were even plenty of fantastic showings that I didn’t touch on, where the stories weren’t as dramatic but were still wonderful to see play out—even ones as simple as “They put on a great show that the audience adored.”
My only worry is that 6th fes in 2025 looks like it’ll have at least 10 new talents to account for, and I can see my free time (and my sleep schedule) slipping away.
Official VODs are currently available until April 17.
When the Virtual Youtuber group “hololive English Advent” debuted last summer, something in particular caught my eye: The twin demon guard dogs known as FUWAMOCO listed Genshikenas one of their favorite anime. As a fan of the series (in case you haven’t noticed), it was exciting to know there were a couple of VTubers with a fondness for Genshiken. But it left me wondering, who is their favorite character?
Last month, Fuwawa and Mococo did one of their popular karaoke streams—one that later turned out to be a special stream to announce their move to Japan. As if to call back to some possible younger days as otaku,, lot of the song selections were from the 2000s, including “Soul Taker” and “DANZEN! Futari wa Pretty Cure.” Then, they said the magic words: “Kujibiki Unbalance.”
While regular readers of Ogiue Maniax probably already know this, Kujibiki Unbalance is the name of the fictional series-within-a-series in Genshiken, as well as the title of its opening by Under17. As FUWAMOCO began to sing the theme song, I sent a superchat asking about their favorite character, knowing there was always a possibility that they wouldn’t notice. To my pleasant surprise, they responded.
The answer: Madarame. As arguably the most iconic character of Genshiken, he deserves it.
The only caveat is that only Mococo answered, so I don’t know if it’s Madarame for both of them or just her. If I ever get the full answer, I’ll be sure to make an update.
A lot of cool music-related things have happened in hololive land over the past few months, so I just wanted to give some brief, unorganized thoughts about them.
La+ Darknesss Solo Live: Waku Waku Nightmare
La+ had her first solo concert a few days ago, and the paid VOD (3300 yen) is still available until March 1, JST. The event was sponsored by Nissin, the original instant noodle company, and La+ recently became a spokesperson for their U.F.O. brand of yakisoba. Note that the site is Japanese-only, and that when registering, you can put all 0s as your phone number. (Also, there’s a Koyori solo live on April 7, JST.)
As a La+ fan, I’d been hoping for something like this for a while now. While I could talk endlessly about this event (check out her final song, “Kurai”), I just want to highlight a couple things that stood out to me.
La+ actually started off with “Kamippoi Na,” which was her very first cover song back when she debuted, and she decided to sing with a deeper voice in contrast to the the whispiness of her recorded version. The choreography was also completely different from the time she covered it with Murasaki Shion. What’s really fascinating, though, is comparing her dance to that of Hakos Baelz. Both are among the very best dancers in hololive, and you can see how their respective styles come through on the same song: La+ is smooth, while Bae is dynamic.
Towards the end, La+ performed “Aien Jihen,” her first original song, and something she hadn’t pulled out since her original 3D debut. Back then, she had decided to perform the dance against a pre-recorded vocal track because of the challenging choreography. This time, however, La+ did both the song and dance, showing the progress she’s made, but also how she’s worked through a collarbone fracture from her COVID cough, a hiatus for her mental health, and throat issues, among other setbacks.
One thing I noticed during this performance of “Aien Jihen” is that the choreography has changed in some ways since she last showed it. These might be adjustments designed to make it easier to perform while singing, but I also suspect that she actually modifies her dances depending on whether or not she’s wearing her massive coat. Note in the above images (during the line “Nothing bad happened”) how La+ is leaning forward in her 3D debut but is leaning back during her solo live. I feel like the silhouette in the first image wouldn’t be quite as strong without the coat.
Ray (covered by Generation 0)
Recently, I was trying to decide which generation is the strongest musically…and then the Japan Generation 0 cover of “Ray” came out. Suisei, Sora, and AZKi are in the top echelon of Holo singers. Roboco’s sound has this haunting quality, and Miko pulls off “cute idol” while maintaining her signature voice. The closest second is probably Indonesia Gen 1.
Mind Craft (covered by hololive English)
Hakos Baelz organized a cover of “Mind Craft” with the entirety of hololive EN, and everything about it is amazing. The balance between giving the fans familiar combinations of individuals and unexpected ones really makes it a journey of a song. My highlights are IRyS + Nerissa, and how Bae herself is presented as a modest “leader” of the whole thing, both in how she has only a few solo parts but at pivotal moments, and her literal outfit looking like a ringmaster’s. Speaking of which, the character art is some of my favorite ever for hololive, and I hope there’s a way to own it someday.
Bae also did a stream where she talked in detail about getting the song and music video produced, and I think it’s worth a listen.
2023 to 2024 Countdown
The New Year’s countdown was fun just like last year, and I’m glad to have seen new girls get in on the Shuffle Medley fun. Naturally, La+ as Kiara performing “Do U” stole the show for me.
But I wanted to look more at the fact that the hololive and holostars streams had different performances of the same songs, with distinct choreographies. Specifically, it was “Idol” from [Oshi no Ko] and “Dai Zero Kan” from The First Slam Dunk.
The guy versions are more “masculine” in approach (like the basketball-themed dance moves in “Dai Zero Kan”), and it makes me think of something I read in the dance manga Wandance: It tends to be the case that guys don’t learn “girly” moves. Issues of heteronormativity aside, it’s still fun to see different interpretations of the same songs.
hololive KDA
I wrote about the Riot Games One 2023 KDA cover performances previously, but I’m bringing it up again because I’ve been thinking about something in particular: The hololive version shows some of the limits of the 3D technology, and where it has room to improve.
Putting aside the skill difference between the hololive girls and full-on professional dancers, there are definitely moments where the 3D can’t quite capture certain subtleties, or where certain moves don’t quite read correctly. For example, during “POP/STARS,” one of the performers is supposed to be a bicep flex, but this just doesn’t get conveyed when La+ does it.
That’s it for now! Who knows if I’ll do one of these again?
I didn’t intend for my Anime NYC 2023 experience to become more like “hololive NYC,” but that’s what ended up happening. Between multiple special events and an Exhibit Hall filled with sellers who knew that it’d be a hot commodity, my time was filled with VTubers and VTuber accessories.
Anime NYC 2023 took place from November 17 through 19, once again on the west side of Manhattan at the Jacob Javits Center—a mediocre venue that tends to just win by default because there’s nothing bigger around. While the con brought guests and screenings from lots of different anime and manga, the highlight for me was indeed the sheer amount of hololive programming. Each day brought something big: the Hoshimachi Suisei paid concert on Friday, the very first hololive Advent panel on Saturday, and then the surprise hololive Indonesia tour concert, viv:ID Cruise. On top of that, Anime NYC had originally announced each one separately, so what we originally thought would be one major event (the Suisei concert) gradually turned into three—not to mention the hololive booth in the Exhibit Hall that had nonstop live programming.
One of the challenges for the big hololive events is that they all required attendees to go through a somewhat convoluted reservation system. Rather than first come, first served, people were randomly assigned a spot in the queue. The idea is to 1) not have people line up unnecessarily the day of an event, and 2) to make sure those with the privilege of more free time or fortunate timing didn’t have an unfair advantage. I find that there are pros and cons to this approach, the downside being that I think it makes many people try to get in even if they don’t necessarily care. Nevertheless, I count myself incredibly lucky that I managed to get into all three events.
Suisei
Hoshimachi Suisei is one of the most popular and celebrated VTuber singers today. She introduced viewers of the The First Take to the world of Virtual Youtubers, and she’s already had a couple concerts in Japan. Her appearance at Anime NYC was pioneering in multiple ways: Not only is it the first (mostly) solo 3D concert for hololive in the US, but it’s also the first to spotlight Japanese talent, as opposed to the English-focused Connect the World from last July. Suisei did not disappoint, bringing her characteristic powerful vocals and performing her original songs like “Ghost” and “Stellar Stellar.” In an industry where lots of post-processing is common to make people sound much better, Suisei stands out as someone with legit singing chops.
hololive EN’s Calliope Mori also guest-starred with a solo and a duet with Suisei. The big surprise to me was that, of all the pieces she could have done, Mori performed “Miraijima ~Future Island~,” her promotional song for the One Piece manga. Though in hindsight, it’s the perfect fit for an anime convention.
The concert was basically a glorified screening (Hatsune Miku–style 3D holograms aren’t a thing yet for parent company Cover Corp.), but buying into the kayfabe “live” notion is part and parcel with enjoying hololive in general. Also, the Special Events hall was not an ideal space for concerts (it’s just not built for that purpose), and standing on the hard concrete floor for extended periods was murder on my legs. Despite the pain, I had fun.
hololive Advent
Just like how hololive Council made their group convention debut at Anime NYC in 2021, the third generation of hololive English appear this year together for the first time. Unlike the other events over the weekend, it was not a musical performance. Instead, it was a Family Feud–adjacent panel where the members of Advent competed to see who could successfully guess what the audience would answer in polls related New York City. Questions included topics like iconic NYC foods (pizza) and the coolest New Yorker (Lady Gaga). The funniest thing was seeing the generational/informational divide among Advent—most notably Shiori Novella (an “archiver” in VTuber kayfabe) calling Al Pacino “Al Pakino” and “Al Capino.”
This panel ran a lot more smoothly than Council’s two years ago, and didn’t have the awkward formality that came from being connected to an official cultural tourism thing. I think it really goes to show what strides hololive has made among American fans that they didn’t feel the need to have that association.
viv:ID CRUISE
The appearance of hololive Indonesia at the con was a big surprise, namely because viv:ID Cruise was originally announced for Southeast Asia only. Now, the tour schedule reads as “Jakarta, Singapore, Kuala Lampur…and New York.” I’m definitely not complaining, as it ended up being my favorite part of Anime NYC as a whole.
The members of viv:ID CRUISE are Moona Hoshinova, Ayunda Risu, Pavolia Reine, and Kobo Kanaeru. In their group numbers, it was great to see how each VTuber brought their own personal quirks to their performances and the choreography, such as Risu’s unmatched songstress status and Kobo’s theatrical dance moves. In their solos, each girl shone brilliantly. Moona made the biggest impression on me with her song “Perisai Jitsu,” particularly with the catchy chorus and the simple-yet-powerful choreography. I’ve had it stuck in my head for days, and it reinforces my opinion that Moona is one of the most complete packages in all of hololive.
https://www.youtube.com/watch?v=LXRSp8QbOeg
I also noticed that Reine seemed to be the most popular with the audience there, though I don’t know how representative the live crowd was compared to, say, US fandom for hololive Indonesia as a whole. Speaking of texting, before and after the concert, there was an ad promoting the new holostars English generation, Armis. Online opinion about male VTubers in hololive Production can be mixed or even negative, but the attendees seemed to be largely enthusiastic about the guys.
The hololive Booth
In addition to all the above events, the official hololive Meet booth returned to the Exhibit Hall this year. On the sides were life-size standees of this year’s representatives for hololive Meet, as well as ones for the CEO of hololive, Tanigo “Yagoo” Motoaki, and fan-favorite staff member A-chan. Like last year, they also had live streams on display there especially for Anime NYC. The booth was sponsored by VRChat, and fans not attending the con could still see them through VRChat. I think this was a great idea, and even provided something for the fans who couldn’t attend all the ticketed events mentioned above.
I wasn’t able to see all of them, but I did catch a couple.
Hakos Baelz is an official ambassador for VRChat, so it’s no surprise that she’d be there, but her embracing of the platform—particularly through her “Dawn of the Dork” karaoke streams—makes her a fitting rep. She brought one such karaoke session to Anime NYC, and showed off both her fun, casual singing and her well-honed dance moves. Utilizing a cutesy model version of herself dubbed “Strawberry Bae,” she sang some anime tunes, took requests from members of the audience (each of whom only suggested hololive songs), and even almost covered Mariah Carey’s Christmas song, until a vocal part of the audience booed the notion. I wish I could have heard it.
The other stream I saw was by two members of the Indonesian branch who weren’t at the concert: Airani Iofifteen and Kureiji Ollie. They’re actually my two favorites of the Indonesian girls, so I was glad to have had the opportunity to see them. Their panel was more of a goofy one, where they had the audience tell them to do certain poses, and they had to see if they both did the same thing. Both Iofi and Ollie have ways of thinking that stray from innocence, so the antics could get rather spicy (but in a fairly PG-13 way). There were also some technical mishaps that would make one or the other disappear or mess up their models, but it was all in good fun and the audience understood.
I could not view the FuwaMoco karaoke session, but I could definitely hear it. The highlight for me was getting to listen to their rendition of “Ojamajo Carnival,” the first opening to Ojamajo Doremi.
One big improvement over last year’s booth was that they elevated the screen to be high up and visible from a distance. However, the crowd that formed around it still took up a huge chunk of floor space and could make it difficult for passersby, especially because it ended up blocking the exits a little. If something could be done to fix that, it would be a boon to both the fans and the other attendees.
Merch
hololive merchandise comes in many forms. There’s the official stuff, the fanmade goodies, things from previous events and milestones, and limited edition convention items, among others. Pretty much all of this was available at Anime NYC 2023, no doubt because everyone knew hololive was going to have a presence there.
I have an ongoing mission to get at least one item related to every hololive member at some point, so this was a great opportunity for me to take a few steps closer:
I am very fond of the hololive Meet casual outfits, so I wanted to get something from that line. One of the big selling points is also that it had A-chan merch (a rarity, given that she’s not technically a “hololive” performer despite working for the company), and I count myself incredibly fortunate that I managed to get a button of her, as well as ones for Ollie and holoEN’s IRyS (the best singer in EN, in my estimation).
I also really had not expected to get something as amazing as an official canvas image of Inugami Korone in her Sonic the Hedgehog cosplay. I believe my life to be enriched by its presence.
Final VTuber Thoughts
The hololive experience at Anime NYC was unforgettable, and topped this year only by the fact that I got to see Connect the World live. I think it’s great that a convention so close to me gets VTubers in a major way. That said, I do have two hopes for future appearances.
First, I think it would be great for everyone if all these events could be announced sooner so that fans could save up and prepare. While I had the benefit of a press pass, in recent years, the cost for regular attendees has skyrocketed, and those who missed the opportunity for the already-low-number 3-day passes had to pay in the triple digits just to get Friday, Saturday, and Sunday. I know from experience that conventions sometimes simply can’t announce things as soon as they’d like, but anything to give fans more prep time would be great.
Second, Anime NYC has still yet to have proper meet-and-greets for VTubers—something that seems to be common at other conventions throughout the world. I have to wonder if there’s a space issue that prevents it at the Javits, though the fact that Anime NYC 2024 is going to use the entirety of the convention center might bode well for such a change. That all said, next year’s con is going to be moving from November to August, which will bring a whole host of uncertain variables. Whether this turns out to be a good move remains to be seen, but I hope it ends up being a net positive.
I once described La+ Darknesss as having a level of skill and confidence in dancing nearly unmatched all of Hololive. That was back in March, shortly before 4th fes (the latest of the annual live concert events), and at the time, I left a caveat that there were actually a number of members who had yet to debut in 3D, and things might change.
Well, things have changed.
At this point, every girl in Hololive outside of the most recent debuts have gotten full 3D models, and many have shown themselves to be noticeably amazing physical performers. Among these talents, there are three that stand out to me in particular.
Hakos Baelz of Hololive Promise.
Vestia Zeta of Indonesia Gen 3.
And Vestia’s genmate Kobo Kanaeru.
I have zero technical or artistic knowledge of dancing (outside of reading Wandance!), so my praise of them is mostly based on vibes. From that limited perspective, I get the sense that they move better than the vast majority of their fellow Holomembers. On top of that, they all seem to approach dance in different ways compared to one another, to the extent that I start to feel like their personalities and quirks come through in their respective performances.
To me, Bae moves as if her entire body from head to toe is equally super-charged, Zeta from the ground up (with her legs being a big focus), and Kobo like she’s acting just as much as she’s dancing. La+, in comparison, seems to dance from the core and then have her energy radiates outwards into the rest of her body. I don’t know if this is even accurate or makes sense, but I start to wonder if I might be able to recognize each of them through their dancing even if they shared the same 3D model. Either that, or I’m just overestimating myself.
We might be entering a new Renaissance period of VTuber dancing. The recently announced 5th fes, Hololive Island, is likely to feature all of them and be an incredible showcase. On top of that, an upcoming Riot Games event in Japan is going to have a performance by Murasaki Shion and three of the names I’ve mentioned above: La+, Bae, and Kobo. And with ReGLOSS’s Todoroki Hajime making dance a major part of her character, I can see things only getting more exciting in the near future.
The past few months of Hololive have been one major event after the next, and among the biggest were the debut of not one, but two new Virtual Youtuber groups. First was Holo Advent at the end of July, the newest English generation in two long years. Then in September came ReGLOSS, who seem to be the vanguards of an entirely new division. Both groups have now had a bit of time to establish themselves, and they seem to reflect two very different approaches: refinement based on past experience vs. taking an experimental direction that’s a mix of old and new.
Holo Advent
While “lore” and “backstory” matter less and less over time, they are part of the initial impression a VTuber makes and can help to solidify their image in the eyes of fans. And when it comes to the English branch of Hololive, their parent company COVER Corp. chose to make things elaborate. Unlike the relatively simple princesses, idols, and devils of the Japanese branch, the first generation (known as Holo Myth) debuted with an ancient Atlantean shark, a grim reaper, a warrior phoenix, an Eldritch priestess, and a time traveling detective.
Due to circumstances of timing (a global pandemic) and their own abilities, Myth are the most successful generation of Hololive—and possibly any VTuber group—ever. Their follow-ups, Project Hope and Holo Council, went even bigger by being the representatives and embodiments of abstract concepts: hope, of course, but then also a celestial governing body of space, time, nature, civilization, and chaos. While all of them have turned out to be popular and entertaining individuals, I think the grandiose nature of their lore can be a burden on the girls themselves. It can weigh the VTubers down just as much as it can elevate them, and often the streamers give this facet of their characters only basic lip service.
I believe that knowing how to avoid that awkwardness is the lesson taken from the past two English generations, and I see this in how Advent strikes a middle ground between them. Like Council, they have a group concept unifying them: The members of Advent are all runaway prisoners who were locked away due to their forbidden powers but staged an escape together. However, their individual backstories are all more detailed than Myth yet less so than Council. Shiori Novella is an archiver whose pursuit of knowledge gave her access to the forbidden. Koseki Bijou is a sentient jewel who inadvertently drives avarice. Nerissa Ravencroft is a demon not unlike a siren. Fuwawa and Mococo Abyssgard are twin demon guard dogs locked away for being huge pains.
In practice, this specific level of lore allows them to play into their core characters without having to devote too much of themselves to keep up an act. Shiori encourages creative works and accumulation of interesting stories. Bijou makes rock jokes on the regular. Nerissa sings beautifully. FuwaMoco talk in cute dog voices and bark on occasion. They don’t have to, for example, express primordial chaos. In pro wrestling terms, Advent’s gimmicks are starting points that they can choose to learn into or not without feeling like they’re overdoing or underdoing it.
ReGLOSS
If Advent is a product of calibration and finding a nice lore sweet spot that is neither too sparse or too burdensome, then ReGLOSS takes a far different angle. Like Advent they number five in total, but all of them are supposed to be just regular human girls—not reincarnations or half-wombat people or anything—albeit eccentric in their own ways. Hiodoshi Ao is a handsome manga artist who is now a VTuber to help with new story ideas. Otonose Kanade is an aspiring musician with a penchant for bad puns. Ichijou Ririka is a young gal CEO who loves survival puzzles. Juufuutei Raden is a saucy rakugo performer with a fondness for drinking and smoking. Todoroki Hajime is a short-statured, pastel banchou (delinquent boss) who loves dance and fashion.
These five have joined together to make music, but what’s funny about this is that most of them are not practiced musicians. A couple have confessed that singing is still awkward to them, and they don’t have the trained vocals of many of their senpai. While there have been Hololive members who start off lacking in this department, there is typically the expectation that they’ll grow at their own pace and fans will love their ability or evenlack thereof. In contrast, ReGLOSS debuted with their own generational song from the get-go.
However, this plays very much into a familiar aspect of Japanese idol culture. Unlike K-Pop, which prefers to unleash its stars when they’re already fantastic, part of the enduring appeal of idol culture is seeing the performers grow. That quality permeates Hololive both naturally and by intent, but it’s never been this concentrated. That said, it’s notable how, while they’re mostly not singers by default, they have other skills and interests they can fall back on. For example, Raden does fine art history talks and Ao did an entire stream about the bullet journal system.
The most unusual thing about ReGLOSS is arguably that they are also the first to be part of a division called holoDEV_IS (pronounced “Holo-dev-ice”), whose true purpose is still unclear. Is it an attempted inroad to other areas of entertainment? Not much is known.
Room to Explore
With any sort of new iteration, there will be those who want something comfortably familiar. Likewise, there will also be those who want something new and exciting. What I think has helped make Hololive such a big player in the world of VTubing is their willingness to provide both while understanding that there is more than one type of success—big numbers alone don’t tell the whole story. Advent and ReGLOSS are indicative of this philosophy, and as they continue forward, I will enjoy seeing all their members carve out their own fanbases and finding people who appreciate them.
Hololive just announced a new group of Virtual Youtubers, collectively called ReGLOSS. Ever since the Hololive Splash Party concert at the end of August, there have been numerous teasers for something called “hololive DEV_IS,” and these new members seem to be the first project under that banner. Now we have both their appearances and a debut music video, one thing that stands out to me: The girls of ReGLOSS have surprisingly clean character designs.
Most VTuber designs take what I’ve referred to as a “maximalist” approach. Typically, a Virtual Youtuber wants their essence to be easily identifiable at a glance, and so most will have things like wild hairdos, horns, animal ears, and complex outfits on display. The most recent Hololive English generation, Advent, features all these attributes and more. While there are exceptions, this is the general trend.
In comparison, the ReGLOSS designs are actually quite subdued. Sure, they’re still pretty flashy, but they’re somewhat less elaborate than even typical IRL human idol or Kpop fare. The fact that all five members’ outfits are coordinated with one another is new and different—rarely have generations looked this cohesive. (And if anything, they kinda look like they stepped out of the anime RahXephon.)
As for why Hololive has decided to go this angle, I wonder if it’s because they seem poised to be a music group first and foremost, and there isn’t as much of a need to go big with the designs. Perhaps it’s no coincidence that another major Hololive singer, AZKi, has herself gotten more elegant redesigns over time. That said, I’d be shocked if they didn’t stream at least a decent amount, as that connection with the fans has been a boon to the followings of all the various musicians in Hololive.
For now, I’m pleasantly surprised. While I appreciate plenty of VTubers with maximalist designs (including Advent), I have wondered if that “arms race” has gone a bit overboard. If ReGLOSS finds success, maybe we’ll see a turn back to simpler and more refined aesthetics (if we ever really had them at all).
PS: While it’s somewhat futile to speculate about what they’re really like, Hololive seems to be very aware of this, and has created an image and hashtag for fans to predict what they’re like. So I figured, why not join in on the fun?
PPS: Hololive has also revealed their casual outfits. Though they no longer match, I think everything I said about their designs still stands—even Raden’s.
I don’t know if it’s the record heat waves or just the sheer amount of things going in life, but the summer has felt incredibly long. But now that it’s the final stretch, I’m sure I’ll be missing it soon enough.
During this time, I also managed to watch both Shin Ultraman and Shin Kamen Rider, so expect some reviews of those sooner than later. In the meantime, I’d also like to mourn the loss of gfycat, which provided many a useful moving record for both mirth and study. I didn’t use the site much for Ogiue Maniax, but I have been updating a few posts here and there.
September Patreon subscribers! Thank you to the following—
A post about the new Hololive dog twins and their preferred name pronunciations.
Kio Shimoku
Kio mostly talks about Elden Ring, but also, check out that high-resolution Ogiue art!
Closing
I watched the Hololive Summer 2023 concert, and it was a blast. There were some issues with the viewing platform that ended up with the entire Day 1 concert being streamed for free on Youtube for the next month, and I’m thankful for that because it meant being able to easily watch Holotori strut their stuff over and over. The fact that Day 2 has holoX’s performance of their new song, “Labyrinthine Labyrinth,” as part of the free preview makes me feel like I won a small lottery again. I also highly recommend checking out the last song in the Day 2 preview, especially those who love 80s anime.
And now Hololive Myth 3rd Anniversary is coming up! It’s amazing to reflect on how much time has passed, and how directly it’s tied to the COVID-19 pandemic. No, I will never forget about that.
The first Virtual YouTuber to really pull me into Hololive was none other than Akai Haato, aka Haachama. She’s currently on an indefinite break for health reasons, so I wanted to support her even when she’s not streaming by writing about why she’s still an all-time favorite of mine.
As Hololive continues to grow, it pulls in more and more ridiculously creative people. Whether it’s through singing and dancing, language skills, gaming ability, comedic chops, charisma, or more, they prove time and again to be a collection of extremely talented individuals.
Haachama is not exceptionally strong in most categories—more a Jack of All Trades. However, there are a couple areas where she outshines just about everyone else: experimentation and adaptation.
To VTuber fans, the roller coaster that is the Haachama experience is well known at this point. Originally joining Hololive to play a tsundere high school girl, she began to take on an increasingly unhinged character personality as she spent four years abroad in Australia, including during the height of COVID. Her experimentation during this time with videos and editing was in part her making the best of a bad situation, i.e. notoriously terrible Australian internet, but it nevertheless laid the foundation for much of Haachama’s fame. The Haachama Cooking videos, where she would confidently and genuinely demonstrate some of the biggest culinary crimes, are just one example of the lengths she’s willing to go.
Fans began to joke that Akai Haato the tsundere and Haachama the unbridled horror were actually two different personalities, with the latter overpowering the former. They even created fanart about it. But then one day, Haachama began to stream as Haato again, using her old catchphrases that she had long since rejected. This culminated in what’s known as the #Coexist Arc, where Haachama seemed to imply that Haato and Haachama were actually sisters who went through some kind of unspeakable tragedy, and that both personalities now inhabit the same body while battling for supremacy. In practical terms, the result is that she now sometimes streams Haato-style (more mellow and relaxed) and sometimes Haachama-style (manic and intense).
In other words, Haachama took a joke from the fans, added her own spin on it to create a kind of semi-interactive lore, and then parlayed it into a way to expand her repertoire and not get boxed into one way of being. Very few Hololive members or even VTubers in general are willing to take such risks with their branding and image, yet Haachama seems to experiment endlessly with what she can be.
It’s important to note, though, that Haachama is also fairly shrewd. She has mentioned that the reason she started changing her character was in order to fill a hole in what Hololive lacked at the time, and her decision was to be a little more “Nijisanji.” The two companies are somewhat defined by their inaugural VTubers—Hololive with Tokino Sora as ideal idol and Nijisanji with the elegantly crass Tsukino Mito—and Haachama as unpredictable idol carries shades of both. This is her adaptability in action.
I previously compared Haachama to the late pro wrestler Brian Pillman because of how his drastic change from white-meat babyface to loose cannon was similar to hers. Since then, it’s clear to me that she’s more of a Matt Hardy—being performers who repeatedly reinvent themselves to either keep up or defy the times. “Haachama the Eldritch entity” is not that far off from the bizarre and imaginative transformation of “Broken” Matt Hardy and the way Matt would play with history and expectations. Neither seem to be satisfied settling into one mode of performance.
I don’t necessarily love everything Haachama does. There are times when she swings big and misses. But even when one stream or project flops, I enjoy seeing Haachama continue to try new things. One prominent example is how she no longer releases Haachama Cooking videos where she eats weird ingredients (like tarantulas) and approaches food with zero practical kitchen skills. Instead, she has moved towards making real progress in actual meal preparation. I miss the absurdity but love her adventurousness.
Haachama pushes boundaries, always seemingly looking for avenues of change. It can be rough for her when things don’t turn out as she intended, but her ability to entertain and renew herself is hard to match. It might make her branding a bit inconsistent, but that plays into her presence all the more. Sometimes, she’s so unpredictable that she does the most predictable thing. I hope that whenever she makes a full recovery, she can come back and still be proud of what she’s accomplished.
OGIUE MANIAX 