The new Hololive English generation, HoloAdvent, has made their debut after more than two years of waiting. Among the five Virtual Youtubers are actually a pair of twins—the Abyssgard sisters Fuwawa and Mococo, collectively known as FuwaMoco. And while there is a lot to potentially talk about (including the fact that Fuwawa is a Genshiken fan!!!), I want to focus on one thing: The pronunciation of their names.
During their inaugural stream, Fuwawa and Mococo made some requests to viewers about their names. First, their last name isn’t pronounced “a-BYSS-gard” but rather A-byss-gard.” Second, their first names are “FU-wa-wa” and “MO-co-co,” and notfu-WA-wa” and “mo-CO-co.” With those specifics, FuwaMoco has brought overseas Hololive fans back into the realm of “pitch accent,” a prevalent element of the Japanese language.
The Pitch Accent Rabbit Hole
Much has been said about Japanese and pitch accent already. Multiple language-learning Youtubers, such Dougen and Yuta, have dedicated videos to the topic. Use of pitch accent can differentiate meanings of words, but more often, hitting the correct pitches can make your Japanese sound more natural and easier to understand for native speakers.
In the realm of Hololive, it’s one of the things that makes Inugami Korone’s regional accent so distinct. As heard in the above video, her pitch accents are very different from those of the more standard Japanese spoken by Murasaki Shion.
It’s even to the point that native Japanese speakers can have trouble with Korone. However, because pitch accent is hard to teach from a textbook and not as prominent in English, it can be a challenge for those going from English to Japanese to even pick up on the differences. Even in those Korone videos, there are comments from people saying that they can’t really hear the difference.
Nailing FuwaMoco’s Names
Incorrect pitch accent isn’t necessarily a deal breaker when it comes to learning Japanese, and how much you want to devote to it is a matter of personal priority. Is sounding closer to native speech more important than learning a wider vocabulary or memorizing kanji, for example? But if your goal is to pronounce FuwaMoco’s names correctly, then you can start from there.
Let’s first look at their family name, Abyssgard. While technically it’d be “Abisugaado” in Japanese, for our purposes, we can ignore those particulars (and in fact, FuwaMoco do the same.)
When focusing on the “Abyss” part of it, the incorrect pronunciation is “a-BYSS” and the correct one is A-byss.” When wrong, it sounds more like the English word “amiss,” while the right one is closer to how you’d say “pumice.”
“Pumice Guard.”
“Abyssgard.”
You can then carry that distinction to their given names, Fuwawa and Mococo, because those follow a similar pattern: FU-wa-wa and MO-co-co.
Going Forward
Keep in mind that the above guide is not a universal rule or anything. If you continue to study Japanese pronunciation, you’ll definitely find plenty of words that don’t follow those specific pitch accents. Also, regardless of whether you can say their names perfectly without effort or you find it to be a struggle, it doesn’t make you less of a fan.
Concerts are normally not my thing. I’ll attend them at anime cons as an extension of my greater fandom, but I typically don’t travel specifically for music events.
That all changed with Hololive English’s inaugural live concert, Connect the World. Well, sort of. Attending a Virtual Youtuber concert can be viewed as a natural consequence of being an otaku, but it’s also akin to seeing a KPop and J-Idol group. Either way, my fondness for the stars’ antics outside of musical performance was just as much a motivation to see them as the concert stuff. And as the very first Hololive concert to be held in the US, I felt that I had to at least try to go. I might never have such an opportunity again, because as much as I’d love to attend the Holo Fes events in Japan, it’s just not realistic for me.
So with a bit of luck and perseverance (and lots of angry cursing at Ticketmaster), I managed to secure myself a ticket and a pretty decent seat. Fast forward a few months later, and there I was with penlight in hand, cheering alongside 5,999 other Holo fans. It was a fantastic overall experience, and I’m grateful to have been a part of this moment in VTuber history.
Summary
Connect the World began with a message in English from A-chan, whose role in Hololive can be described as the ultimate behind-the-scenes pillar. A central figure in the development of Hololive from its humble beginnings, she has garnered a fandom of her own that made itself known through enthusiastic cheers. The concert then went into full swing with a full-roster performance of the Hololive signature theme “Shiny Smily Story,” followed by ten individual performances from the EN girls, two guest numbers by reps from Hololive Japan and Hololive Indonesia, three generational songs, the titular “Connect the World,” and then an encore with “Kirameki Rider.”
Unlike later Hatsune Miku concerts with full-on 3D holograms, this was done with a flat projection screen and additional monitors on the side—similar to what is done even in the Japan events. So it wasn’t the fully immersive experience one might expect, but I think part of the “live” feel actually comes from being shoulder to shoulder with one’s fellow fans. In other words, we help make it “real” just as much as the VTubers.
The Opening Acts Were Made for Me
I feel incredibly blessed that the first couple of solos were by two of my favorites in EN. The first, Hakos Baelz, is nearly undisputed as the best dancer in Hololive EN (as well as being one of the strongest in Hololive as a whole), and I couldn’t help but be drawn to her as she killed the dance floor. Even basic movements, like swaying left and right during “Shiny Smily Story,” carried a sense of poise and confidence when executed by Bae, and she continued that same spirit into her original song “Psycho.” Almost as impressive was her singing, which possessed a powerful throatiness that I enjoyed a lot and fit the song well. Someday, I’d love to see her more energetic movements alongside the amazing rhythm and fluidity of fellow dancer extraordinaire La+ Darknesss.
I’ve read people’s complaints about how the camera work didn’t do Bae’s self-designed choreography justice, and I can sympathize. Seeing it live really drove home how beautifully she moves, and I feel fortunate to be among those who could witness it straight on and uninterrupted. That being said, I feel like the criticism of the camera can be overly harsh, not only because I think it has its moments but also because the approach taken is meant to play it safe. In other words, it’s better at hiding flaws than accentuating strengths—sometimes it works, and sometimes it doesn’t.
The second star on stage, Amelia Watson, went with her first and only original song, “Chiku Taku.” For Amelia, neither singing nor dancing have ever been her strong suits, but part of the joy of witnessing Amelia on stage is in experiencing her energy and seeing the strides she has made with respect to the “idol” aspects of being a Hololive VTuber. The highlight for me was the kicking motions in her dance—what I’ve since learned is ska dancing, or “skanking.”
Having both of the above performances be in the free YouTube preview works out in my favor, as it means I get to revisit them as much as I want. The fact that Bae was also part of the free preview at the Holo 4th Fes Deco*27 stage makes me think that they know full well what a draw she is.
Other Favorites
One stand-out moment was IRyS’s “Gravity,” which is my favorite of her originals, as well as one of the Hololive songs I love most. I was happy to hear IRyS herself say that she’s partial to “Gravity” as well. The song just accentuates her talents as a vocalist, especially because it has that illusion of effortlessness that only comes when someone is immensely skilled at something. I feel like I achieved something just by hearing it live.
Later when the EN girls did their group songs, IRyS actually ended up with another solo performance just because she’s technically a generation unto herself. This has led to multiple jokes from fans and from IRyS alike—“Who do you like more, IRyS or IRyS?” Incidentally, prior to the start of the concert, I was chatting with a friend about her, where I mentioned wanting to hear “Gravity,” and in response, he said that he really wanted her to sing “Caesura of Despair.” That just so happened to be her second song, and while we had no actual say in the song list, it’s fun to pretend that we willed it into existence. Between both tunes, they really show off the crystal clarity of IRyS’s voice.
I expected that we’d get some surprises at Connect the World, but I didn’t expect the debut of two new original songs, one by Gawr Gura and the other by Ouro Kronii. Truth be told, I don’t listen to enough Hololive songs to always know what is a cover, what is an original, and what is brand new, but they both sounded unfamiliar to me at the time. Gura’s “Full Color” and Kronii’s “Souten ni Moyu” both fit their respective characters, personalities, and voices very well, and I think they’re each VTuber’s best songs to date. Neither has an official release yet, but I’m definitely looking forward to them.
The Teaser
After the encore was a mysterious teaser that had the audience clamoring. Featuring stills of fiery imagery and ending with a symbol that somewhat resembles a toothy grin, the natural assumption is that this is the long-awaited next generation of Hololive—the first since 2021. With no other info at this point, it’s anyone’s guess as to what it all means.
Given the dark tones of the teaser, my hope is that it’s some kind of heel faction. Obviously it wouldn’t work quite like pro wrestling—you don’t actually want the viewers to despise them—but I imagine them dropping in to interrupt songs as they begin and talking smack as they belt out some tunes. Hololive EN also has a tendency to start with elaborate lore that then falls by the wayside, so I don’t know if they could maintain that sort of gimmick for long.
Issues
There were a few hiccups at the event, and I don’t just mean Amelia’s at the end of “Chiku Taku.”
The first was that the monitors on each side were off-sync from the main screen, which made looking back and forth between them kind of awkward. The second was that the singing could sound a bit chimpunky at times. Was it the audio equipment at the venue or maybe something else, like use of pitch correction? I don’t have the knowledge to diagnose that sort of thing, so I’ll leave it to the experts.
Technical problems aside, I had also hoped to see more interactions between the different branches English, Indonesia, and Japan, but there wasn’t any mingling. I suspect that they wanted to just do the basics and save stuff for future concerts. I recall a similar situation with JAM Project’s first US appearance at Otakon 2008, where it was almost like an introduction to the American audience.
None of these things are deal breakers, particularly because I understand that the sheer complexity of trying to pull off a huge concert with 3D models means something might not work as intended. Take these as minor quibbles among an overall great experience.
Final Thoughts
I’m proud to have been part of this first Hololive concert in the US. I feel content knowing that I got to see some of my favorite entertainers shine on stage. I do hope we get a blu-ray soon, though, as I would like to have a permanent physical way to re-watch it. Then again, the 4th Fes blu-ray isn’t even out yet, so we might be waiting a good while longer.
I hope we get to see more international concerts in the future so that others have the opportunity to go in person, even if I end up being personally unable to attend them. Of course, depending on location and lineup (Haachama and La+ in particular), I might just have to find a way again.
And now that I’ve gone to a concert for virtual idols, who knows what’s next? Maybe I’ll attend some concerts by 100% flesh-and-blood musicians as well. Ironically, the VTuber rabbit hole might just lead me back to the real world.
How much should we do what we’re good at vs. to what extent should we try to work on our weaker areas? And to what end? I’ve been contemplating these questions because of the Virtual Youtuber Calliope Mori.
There used to be an ad campaign in the 2000s for the beer Dos Equis featuring a charismatic older gentleman described as “The Most Interesting Man in the World.” The commercials would boast about his accomplishments, and even occasionally have him wittily comment on various topics. In one case, his advice on careers was “Find out what it is in life that you don’t do well, and don’t do that thing.” It‘s a statement that can be taken as “know your strengths and play to them,” but this and similar sentiments have me contemplating the ways in which we as people navigate the notion of self-improvement.
That’s where Calliope Mori comes in. One of the most popular VTubers in the world, the central theme of her persona is that she is a “rapping reaper”—a death god who has bars for days while also presenting a very anime aesthetic. A lot of her early success was built on her rap skills, and it’s given her both fame and fortune, including a major deal with Universal Music Japan. Yet, rather than stick to the image of the “hip-hop anime girl,” Calli has more recently delved into two areas she feels less experienced in: cuteness and singing.
Among VTubers, being adorable and singing well are certainly not uncommon traits. Her genmate Gawr Gura (featured in the above collaboration, “Q”) is a prime example, and Calli going this route means being compared to the Guras of the world. But while Calli’s qualities (especially her rap skills) are much rarer and help her to stand out among the crowd, she’s also mentioned a desire to work on both cuteness and singing ability. For example, she originally asked if she could have a character model that was short and flat-chested, closer to her ideal image of cuteness. Calli has also been doing covers of cute songs like “Kawaikute Gomen” and “Idol,” the opening for Oshi no Ko. It’s a move that has gotten both positive and negative feedback, some of which has been on the extreme side.
The worst comments seem to stem from the idea that one shouldn’t be putting content like this out unless they match a very high and often gatekeeping standard, and I find it sad and awfully pathetic to attack someone who is trying to do what they want while aware that they’re not the best at it, rather than just be mature and ignore what you don’t like.
Certainly, Calli could only try to operate outside her wheelhouse because she’s had financial success through Hololive and the support of a fanbase that wants to see her do well. It’s a far cry from telling someone barely scraping by to just “do what you feel like, even if you’re not necessarily going to be great at it.” But while Calli has a fairly privileged position, the fact that she’s willing to learn and experiment in the public eye, all while doing things that don’t come as easily to her, is admirable. It would be a terrible thing if people are discouraged from trying unusual things because of the backlash Calli receives. My hope is that everyone, Calli included, does not lose heart.
May 25, is the birthday of VTuber La+ Darknesss, and that means a variety of ways to mark the occasion, as per usual. There are the special streams, the general well wishes from fans and peers alike, and of course, the merch. As La+ is one of my absolute favorites (and her group holoX just a generally great Hololive generation), I (and my wallet) will also be partaking in the celebration. But one thing I find so funny about VTuber birthdays is that they’re the ultimate kayfabe—a crucial area where everyone suspends their disbelief.
Nearly all virtual youtubers have two important dates to celebrate every year: their debut anniversaries and their birthdays. The former are near-immutable facts; they did their first YouTube streams on X Day, and that remains into perpetuity (unless a re-debut is somehow given precedent). The latter are completely arbitrary.
VTuber birthdays aren’t based on when their designs are first created or when they’re first hired—that’s an unknown and (presumably) long process. It’s clearly never the same as the actual person’s birthday—that’d just invite trouble by accidentally leaking personal info. Instead, the VTuber birthday is this made-up thing that gives an excuse to put the spotlight on an individual streamer while they get to promote their projects and new goods for fans to purchase. Everyone plays along as if this is the real deal.
It’s actually great.
I feel like everyone is on the same page in this situation, because what it really does is focus all the love and attention onto a particular period of time, giving meaning to the actions of the VTubers and their followers alike. It’s also the only part of a VTuber’s lore that holds firm no matter what. Character personalities can change. VTubers can play into their original lore or abandon most of it to be something closer to who they are behind the screen. Fans can popularize theories, and the performers themselves can choose whether to incorporate aspects of them. Entire designs can even change significantly. However, the birthday remains.
So Happy Birthday, La+ Darknesss! It’s going to be great getting to see you get all the attention you’ve earned. It’s good to see you bounce back from COVID as well (ironic that I say this while just getting my own first bout of COVID.)
An important final note: La+ has mentioned that she’s recovering from a stress fracture due to COVID-19, so there might not be a concert stream. In the meantime, two different delayed birthday concerts are happening this week: One is for the original Hololive, Tokino Sora, on May 26 (her birthday is May 15). The other is for 1st-Generation member Aki Rosenthal on May 27 (whose original concert in February had to be postponed due to some unknown difficulties). So while we might not get to see the Founder’s sweet dance moves again, we do get to see two of the best performers around.
I’ve been thinking about what I call “safe yandere,” or alternately “yandere aesthetic.”
Yandere character fetish feeds off many things. The notion of a character who’s so in love with another that she turns into a crazed axe murderer (and that this is a good thing!) is at the same time obvious and complex. It’s a realm of fantasy that, in my estimation, works by essentially being so hyper exaggerated as to feel real—like how food for astronauts is made extra spicy because the sense of taste is dulled in space.
Because yandere characters come primarily from media like anime, manga, and visual novels, there are many visual shortcuts to convey that quality. The thousand-yard stare, the creepy smile, the icons of sadism, and so on make portraying a yandere in a single drawing perfectly possible. What this also means is that this aesthetic can be extracted and placed onto characters who aren’t necessarily trying to trap their significant others in cement so that they can be together forever.
The first example that stands out to me is Jabami Yumeko in Kakegurui. She has all the visual hallmarks of a yandere, except she directs that primal energy towards the art of gambling instead of a person. She doesn’t take pleasure in hurting others so much as she does mutually experiencing the torrent of emotions that stir when everything is on the line.
Another is the teasing girl. They’re not exactly yandere—more like a midway point between that and tsundere—but they can serve a somewhat similar function. Nagatoro might be the most well known at this point, and her sneers evoke a kind of pain/pleasure combo that aligns with the general yandere for vibe.
The last example actually comes from the world of VTubers. The Hololive zombie girl Kureijii Ollie has a visual presentation that is very reminiscent of yandere, especially in the eyes, but her personality is far from it. I suspect that this contrast is part of her charm, though, and a reason she’s so popular. Incidentally, another Hololive member, Ceres Fauna is sort of the opposite: Her appearance is gentle but her words and demeanor can get yandere, especially in ASMR streams.
I don’t think separating out the visual component of yandere is a bad thing—far from it, in fact. It gives people the opportunity to assess themselves and what they enjoy, allowing for greater personal discovery. It also reminds me a bit of what has happened to the concept of vampires. Some people just want a specific sub-flavor of hotness, and that is okay.
I don’t know if we’ll reach a point where the definition of yandere has fundamentally changed and it goes towards the safe yandere. I doubt it, given the continued popularity of characters like Toga Himiko from My Hero Academia. But like so many things, I’d rather people be able to remember that this transformation has occurred rather than wholly adhere to some specific definition. History is important, even that of the yandere.
(And technically, all fictional yandere are safe precisely because they remain in the realm of fiction. Though that does mean VTubers can blur that line…)
The Hololive fan project Holocureis what finally made me try a Vampire Survivors–type game. That’s not to say anything is wrong with Vampire Survivors—I had no particular qualms based on what I knew of the genre, but also no particular motivation to check it out. But now I’ve devoted more hours to Holocure than many games in recent memory, so I figured I should jot down my thoughts on it, no matter how disorganized.
I can see why this game type has become such a hit. There’s something simultaneously relaxing and stressful about the format. The whole automatic-firing thing exemplifies this, as it means you don’t have to worry about constantly mashing on a button or timing hits, but it also means you have less control in dire situations where you really wish you could be more precise. My only complaint is that collision with stage elements sometimes happens unexpectedly, and I feel like certain graphics such as fences and potted plants are kind of iffy in terms of how they interact with the playable characters. Either that, or my partial color blindness makes them hard to notice.
Wikipedia calls Vampire Survivor a “timed survival” game, and I don’t know how common or accepted that is as a term. I feel like it’s treated as a genre or subgenre of its own, though I can’t help but compare it to the 1980s arcade game Robotron 2084, which also features an overhead view plus dual sticks for movement and aiming respectively. There are differences but also a clear conceptual lineage, and it’s fascinating to see people try to coin a term to describe this game type. The term “Roguelite” is funny for all the reasons Metroidvania and Roguelike are.
Specifically regarding Holocure, the roster is an obvious point in its favor. Getting to use Hololive members is ultimately what pushed me to try it in the first place, especially after hearing that Haachama would get added to the game. Even if I weren’t already a Haachama fan, she’d probably still end up being my favorite in Holocure. The fact that she has a “stance change” mechanic (based on the #coexist arc that implied Haachama has two warring personalities inside her) just makes her fun to play and strategize with.
I’ve now had the chance to use every character available in Version 0.5, and I just love the way that the girls’ lore, personality, and memes all get rolled into gameplay elements. It’s the advantage of being a fan game based on an existing property. I’m eager to see how future characters turn out. The entirety of Hololive Indonesia has already been announced for 0.6, and I want to try them all, especially Kureiji Ollie, Airani Iofifteen, Kobo Kanaeru, and Kaela Kovalskia—the last of whom has herself become addicted to playing Holocure for hours end while blaring an in-game trumpet for maximum cacophony.
And of course, I can’t wait to see the eventual arrival of La+ Darknesss. Given that Gura has the power of Smolness that allows her to dodge attacks more easily, I wonder if La+ will have a similar ability, given that she is literally the shortest member of Hololive. Or will it be the case that her massive horns neutralize the advantage of short stature? What will her super be—a reference to her original song Dark Breath, perhaps?
The 3D debut of La+ Darknesss forever changed her image as a Virtual Youtuber. This Hololive member initially presented herself as a brattychuunibyou with legit singing and rapping skills, but seeing her with a full range of motion revealed that La+ is actually one of Hololive‘s best dancers. Since then, she’s had a handful of performances in her own streams and as a guest in others, and they’re consistently top-notch. Numerous clips and comments in multiple languages make note about how her routines just look different from most everyone else’s, with one Japanese viewer summing it up well: While many others (like Subaru and Matsuri) are great at idol dancing, La+ comes across as a great dancer.
Indeed, La+’s dancing has made such an impact on me that I’ve previously discussed her talent in two separate posts. And now here’s a third one.
Writing another essay might seem superfluous; I’d actually thought as such myself. I’m also such an absolute dance novice that I’m completely unqualified to comment on La+’s with any authority. But as I’ve waited for more expert analysis of her skills, none have really appeared—even reaction videos are exceedingly rare. So, I’ve found myself watching her concerts over and over, trying to figure out why her abilities shine through even to someone as ignorant of the art as myself.
Thus, I present my attempt to explain what I literally don’t have the proper vocabulary or understanding for, in the hopes that someone better than me can do a more proper job of it.
Crisp, Full-Body Expression
I think the first dance that really caught my attention was from La+’s 3D debut stream: her performance of her first original song, “Aien Jihen.” She actually came up with the choreography herself, and it is likely her most difficult dance to date—La+ even prefaced by saying she was only dancing to her pre-recorded vocal track.
The introduction starts off, and she strikes poses if every part of her is in perfect sync with the rest. Then the blow horns sound off, and La+ goes into the first verse with the most confident arm movements I’ve ever seen from a VTuber. As she pumps her body, there’s a combination of elegance and forcefulness (along with some solid camera work) that just leaves a lasting impression—and that’s before La+ gets into the more difficult parts of her choreo! She looks as if she’s able to carry movements all the way from beginning to end with a level of precision that makes everything feel both important and impactful.
That crispness can be seen across literally everything she does. Case in point, one place where it really stands out to me is in her duet cover of Ayase’s “Cynical Night Plan” with Amane Kanata, from her first-anniversary concert. At times, La+ performs more complicated moves than Kanata, but there are moments when they’re doing the same steps, and she just seems to have something extra. In the above clip, the duo spread their arms in and flick upwards in steps of three; while Kanata seems to move wrist-first, La+ looks as if she’s moving from the shoulders and elbows, creating a sharp ratcheting that matches the song well. I find my eyes being drawn to her as a result.
Control and Stability
The 3D debuts of every member of holoX culminated with a group stream in which they performed a cover of the song “Roki” by MikitoP. This is actually the moment that multiple VTuber clippers drew attention to La+’s dancing, and for good reason: she somehow manages to steal the spotlight without diminishing her genmates. There are just multiple moments where she dips or moves like an undulating wave, and it highlights just how much more control and stability she seems to have over her body—especially her core—compared to the rest of holoX and by extension nearly all of Hololive.
Her first-anniversary stream is also full of moments that demonstrate her incredible smoothness, but where that talent really comes to the fore is in “Dark Breath”: her second original song, and one that clearly draws inspiration from K-Pop in the vein of Blackpink. Not only does she demonstrate the aforementioned crisp movement when she turns in place like the hands of a clock, but the way she leans back as if about to fall over—only to then snake right back up—seems to speak to an impressive amount of training.
Idols and Dancing
With the impressive expressiveness and control of La+ on display, I’d like to return to that previously mentioned distinction between “idol dancing” and “dance dancing.” To that end, it’s important to describe what idol-style dance is in the first place with a brief and highly generalized history lesson.
Japanese idol culture emerged in the 1980s with singers such as Matsuda Seiko being presented as platonic ideals of what girls could be—this is the foundation of the seiso (pure and clean) idol concept that is the butt of so many jokes.
As dancing has become a bigger part of idol culture—such as with the famous AKB48—performances follow a similar trend, being less about making you go “wow” and more about making you go “aww” or “ooh.” In anime terms, this is the progression from Macrossand Creamy Mamito Love Live!
Idol dance is the angle most Hololive members take, and it allows for those with and without dance experience to look fairly good and to utilize their strengths. For example, Inugami Korone is known as one of the most physically fit members of Hololive. She doesn’t have the cleanest moves, but she makes up for it with sheer athleticism and stamina, famously pulling off a front walkover flip while also nursing a broken finger. In turn, Oozora Subaru may not be as athletic as Korone, but she brings a similar amount of boundless energy, a kind of joyful expressiveness that’s really endearing, and visible improvements over time that play into the narrative of watching idols as “works in progress.”
Two members who actually have significant backgrounds in idol performances are Natsuiro Matsuri and Takahashi Kiara (Hololive Myth’s best dancer), and it shows in how stable they look while in motion.
In the above clip, Matsuri’s “Hare Hare Yukai” dance from Suzumiya Haruhi stands in sharp contrast to Houshou Marine’s memorized but somewhat uncoordinated motions. Below, Kiara’s performance during her original song “Hinotori” straddles the line of idol dancing with a choreography that feels more daring, but she still has a certain staticness that is expected of idol fare, despite showing off a great deal of balance and flexibility.
In comparison, it’s clear that La+ doesn’t follow the same template as most others. Certainly, she’s not alone in that regard, with Kiara diversifying her style further with her later songs, and Moona Hoshinova giving a more diva-like performance for her original song “High Tide.” But I think what La+ seems to have an astounding level of consistency, which leads me to the third reason I think she’s such a mesmerizing dancer.
Versatility
On the subject of idol dance, there is something important to note: Just because it’s not La+’s typical style doesn’t mean she’s bad at it. In fact, she’s one of the best:
This clip is taken from the most-rewatched moment in her first-year anniversary concert: her idol outfit reveal, which leads into “Daishikyuu Daisuki,” a poppy and bubbly tune by the Japanese group Femme Fatale. It’s by far the most idol-esque number La+ has ever done, and she manages to bring her crispness and control to the performance in a way that elevates the whole thing. From how she twists and bends to the subtle positioning of her legs, she looks as impressive here as her other dances. For comparison, below is a video showing other Hololive members covering the same song. The difference is noticeable.
La+ is amazingly versatile, and nowhere is that more apparent than the fact that the very same first-anniversary concert also features La+ with Aki Rosenthal, who is indisputably one of Hololive’s best dancers. With a partner who is similarly skilled, La+ is able to pull off something that looks closer to a Broadway number or a dance recital at a major concert hall. The song, “One Room All That Jazz,” also has a completely different feel from everything else she’s done (quiet and jazzy, naturally). The number consists of nonstop highlights, but I think what really shows her (and Aki’s) power is the level of elegance displayed during the instrumental section that then transitions into a wildly contrasting tap dance. Aside from possibly Kiara and Moona, as well as potentially certain members who have yet to receive their 3D models, I’m doubtful there are many who could manage this so effectively.
Dark Lord of the Dance
When La+ Darknesss dances, she displays artistry and a plethora of skills that I think put her near, if not at the top of the list of best dancers in Hololive and Virtual Youtubers as a whole. She actually outdoes Miku Miku Dance models from the best 3D animators when it’s far more common for the opposite to be true.
La+ has the crisp, full-body expression that makes every movement feel razor-sharp. She has such stability and control that her moves seem somehow effortful and effortless at the same time. She has the versatility to apply her talents to different songs and genres of dance, and make all of them look good. It’s as if she combines the strengths of the most notable performers in Hololive, with the possible exception of Korone-level endurance and athletic prowess (though she might merely be lacking relative to the intensity of her choreographies). And all this isn’t even factoring her strong singing ability—something that makes her concerts that much more powerful. Truly, she’s my favorite dancer in Hololive and there is no close second.
Which is all to say, if you haven’t watched La+’s 3D concerts, you should really check them out.
There must have been something fermenting in the collective imagination of 2022. Last year gave us not one, not two, but three different forms of media featuring cute dogs combined with bread. And as many minds landed on this same idea of oven-baked canines, they all appeared to be guided by more than merchandising power alone.
Sanallites
The first bread dog of note is an embodiment of the Sanallites, the fanbase for the retired VTuber Tsukumo Sana from Hololive. The reason her fans are portrayed as bread is that Sana herself would express how much she loves bread, even going as far as doing a bread horoscope in an early stream. And because Sana herself is an experienced artist, she used her illustration chops to solidify the design as a whole loaf with an adorable flat face.
Sana’s bread dog comes from a warm and comforting relationship with her fandom—the kind of personal-feeling connection that you could only get from a streamer.
Pam-Pam
The second bread dog is Pam-Pam, a sandwich-themed dog fairy from the magical girl anime Delicious Party Precure. Here, Pam-Pam is the mascot sidekick of the bread-themed Cure Spicy, and contrasted with a rice mascot and a noodle mascot for a trio of staple carbs. This all plays into one of the themes of Delicious Party Precure, which is teaching kids to eat balanced meals and learn to appreciate all types of food. Pam-Pam transforms into a little sandwich with her dog head sticking out, meaning her bread elements come out primarily in battle.
Delicious Party Precure’s bread dog is a way to convey a theme of good nutrition. The decision to design Pam-Pam in this way is the result of trying to prepare children for the future.
Fidough and Dachsbun
The last bread dogs are the new evolutionary line from Pokémon Scarlet and Violet. Fidough, which resembles unbaked bread, evolves into Dachsbun, whose Baked Body ability makes it actually immune to fire attacks. They have more of an active bread motif than Pamu Pamu but retain more dog features than the Sanallites.
These two are actually just a couple of the many new Paldean Pokémon with a food motif—others include hot pepper plants, olives, and more. The Paldea region is based on Spain, which has a rich and diverse food culture, and both bread dogs reflect that aspect.
The Yeast They Can Do
Combining fluffy bread with furry dogs seems like an obvious winner, and these examples are certainly not the first. But to see three big franchises implement the same idea within the same year feels like a tiny miracle. There’s a surprising amount of versatility to be found in the bread dog concept, and should there ever be a true bread-dog boom, I doubt anyone would mind.
There’s a 50/50 chance that saying “the Japanese beverage company Suntory has their own official Virtual Youtuber” would come as a surprise. But the blue-haired “Suntory Nomu” is real (in a sense), and I actually like her design quite a bit. What really stands out about Nomu’s appearance, relative to other VTubers, is how simple and subdued it is. A white dress with blue highlights stands in sharp contrast to the vast majority of Hololive and Nijisanji, who seem to be created with a maximalist philosophy. This latter approach brings to mind broader discussions about character design in media.
(Side note: I’m not sure I need to mention this, but in case it matters, I am not endorsing Suntory products in any way. I generally like their drinks well enough, but that’s about it.)
When looking at Nomu relative to the Hololive members she’s streamed with, the difference is clear. While both have attractive designs, Takane Lui and Aki Rosenthal have all these details, adornments, and colors, resulting in rather complex/complicated appearances. There are practical reasons to make them this way, of course: They need to be immediately distinct and visually appealing to prospective viewers. Rigging/modeling them for animation is a one-time thing, as opposed to needing to draw them anew every time in the vein of anime or manga. And the expectation is that people will stare at them for extended periods. VTubers need to communicate a good portion of who they are immediately, as viewers can’t be expected to dive into an extensive backstory—and often VTuber backstories are helpful suggestions, at best.
The decision to go maximalist reminds me of fan discussion surrounding fighting game characters. Fighting games, especially ones not based on an existing property, share a number of similarities with VTubing. There’s no prior context for people to get attached to (as they might with an animation or comic), so having characters catch the eye right away while also communicating how they play is important. There’s still quite a bit of range—Compare Ryu or Chun-li from Street Fighter to Sol Badguy or Dizzy from Guilty Gear (especially pre-STRIVE)—but criticizing a fighting game character for being “boring” is typically more about looks and presentation of attacks. That’s actually a big difference with Virtual Youtubers: It does ultimately come down to personality.
But it makes me wonder if significantly simplified designs like Suntory Nomu couldn’t thrive despite the general trends against them. Maybe it’s because so many designs take an “everything but the kitchen sink” approach that Nomu’s aesthetics stand out more. Could there be a trend back down to relatively more minimalist designs in VTubing, fighting games, and other similar areas? It’s something I’d like to see, if only because I’m curious how it would all play out among the fans themselves.
Yesterday, I watched the Hololive COUNTDOWN LIVE 2022▷2023. It involved 3D concert performances by a variety of members including two of my faves, the currently COVID-stricken Haachama and the on-hiatus La+ Darknesss. I highly recommend it, especially the crossover sections between the girls of Hololive and the boys of Holostars. This clearly takes some inspiration from Japan’s long-standing end-of-year musical event, Kohaku Uta Gassen, but I’ve never actually watched it.
Looking back, it didn’t hit me how long the past year felt until I saw Kio Shimoku mention that Hashikko Ensemble concluded back in January of 2022. At times, it’s like the days move by all too quickly, and other times, it’s like they slow to a crawl. I can’t tell at this point how much of it is the prolonged funk of the pandemic and how much is just me getting older.
But here we are at the start of 2023 and the Year of the Rabbit, at least if we’re going by the solar calendar. Whenever I think about it, I find myself remembering a certain old flash video from the 2000s. Thankfully, someone uploaded it to Youtube, so I can inflict it on a new generation.
January’s Patreon subscribers are looking good. Thank you, everyone, and here’s to another fine (?) year.
This is partly an analysis of how different fans have different expectations for their VTuber faves, and partly an excuse to post more videos of La+ Darkness’s amazing dancing skills.
At the start of the year, I feel myself wondering if I should be doing more both with Ogiue Maniax and outside of it. One thing I’ve thought about is starting a Substack, but I have no idea how I might divide my writing. In my head, there’s no real differentiation between “regular” posts and “premium” ones, and I’d probably have to figure out some way to make it worthwhile. One possibility is to break off the VTuber stuff into its own dedicated area in case it’s becoming too intrusive, but I don’t think it’s that bad currently.
I could also do premium posts on Patreon, but that sort of runs into the same issue. If anyone wants to see that sort of content (or if you even hate the idea), feel free to leave a comment. I think I care less about the money at this point and wonder more about how to promote Ogiue Maniax in 2023. All the old ways seem to be vanishing (and Twitter is constantly on the verge of collapse because of its moronic new boss), and I still haven’t caught up.
Whichever ways things go, though, I hope you’ll keep reading.
OGIUE MANIAX 