Skyline Serenade was an independent VTuber concert held on August 21, 2026 at the Beacon Theater during Anime NYC weekend but independent of the big convention. With its fairly even mix of both VTuber and IRL performers, it was emphatically a 2.5D (or perhaps 3.5D) show.
On the virtual side was the tapir nurse Nimi Nightmare, as well as the ghost maid Mint Fantôme of Densetsu.exe. There on stage in the flesh were Phoebe Chan—also of Densetsu.exe in both her VTuber and IRL forms—and the Austrian cosplayer/music artist Keekihime, who actually was part of an idol group Japan in the past. Rounding out the roster was a powerful guest list that included the recently returning vampire Kou Mariya, the cockroach starlet Matara Kan, and the elusive Shachi (who might not have counted as a VTuber but is willing to be on stage as a pink orca). Another very pleasant surprise was that Mint and Phoebe performed one song with the last Densetsu member, Victoria Roman, whom I absolutely adore.
I had previously seen Nimi, Mint, and Phoebe live at other concert events (Virtual Vacation 2025, Fantôme Thief’s Revenge, Otakon 2026), but Keeki would be a new experience for me. She actually made a US appearance last year during Otakon weekend, but that was actually the one year I couldn’t go to DC. Given that none of them have the explicit backing of a big industry player (and the Densetsu girls were set back by the unceremonious downfall of VShojo), I decided that this would be the biggest priority of my Anime NYC weekend, even if it meant having to miss out on a hololive karaoke event literally being held at the same time at the con proper.
There were a few issues at the venue off the bat. The line for bonus merch for the VIP and SVIP ticket holders was slow-moving to the point of pushing back the start time. The SVIP package also lacked the promised hand-signed postcards from Keeki, but that was because of a series of unfortunate incidents that had her travel visa come in late and freak storms preventing her from flying out until the day of. Fortunately, not only was the delay fairly minimal (about 30 minutes), but the organizers made it clear that Keeki’s autographs would be sent out via mail.
Once the concert itself kicked off, I had a wonderful time. Something I keenly felt was how much they wanted to emphasize that bridging between the virtual and real, doing every combination of girls possible and then some.
Phoebe sang with a gigantic 2D Kou Mariya, as if to push the idea that nothing is set in stone.
Keeki donned a Nimi cosplay to perform “Renai Circulation” with Nimi herself, creating a fun visual.
When Densetsu.exe performed together, the 2DLive model used by Vicky, the mocapped 3D model of Mint, and the physical presence of Phoebe made for a delightful contrast that accompanied their unique respective singing styles.
There were also a lot of nods to their shared history in various fandoms and with each other.
Nimi performed the emo pop-punk anthem “Still Into You” with Shachi (who sounded amazing), during which Nimi held the relatively small orca in her hands and moved her around as if Shachi was moving through the water.
Mint and Matara, friends and veterans of the same disastrous situations, debuted a new song together titled “Set Me Free.” It was fun seeing Matara dance with her insectoid claw feet.
Keeki (wearing a look inspired by the Austrian National Football Team) and Phoebe (in a gorgeously detailed idol outfit) pointed to their long-time love of Japanese idols by covering a song from the group W, “Koi no Vacance.”
Phoebe’s “Start Again” had her sing about continuous reinvention, accompanied by footage of her various VTuber designs (including Ami Amami from the defunct Prism Project), while her performance of “Seikan Hikou” called back to Ranka Lee, the Macross Frontier character who sparked her love of singing in the first place. (I was surprised she wasn’t part of the “Lion” performance.)
Overall, attending Skyline Serenade really made me aware of the strengths and limitations of VTuber vs. IRL performance. The anime-esque designs of the former can give performers impossibly perfect features and proportions, but the current technological limitations mean you can’t fully capture the rich subtlety of movement of actual people. Either way, everyone was beautiful in their own right both visually and aurally, and I don’t have any regrets except one: I didn’t know photos were okay! It would have helped make this review and report better, but alas.
PS: After the concert, I briefly attended a VTuber after party called Seigetsu Stars, foolishly forgetting that I don’t really have it in me to stay up all night anymore, especially in a club environment and especially when I planned to be up early the next day. I watched Hyuni and Amano Nene, and then had to tap out. I wish I could have stayed longer, but my body thanked me for not sticking around.
Last year was the first time in about two decades that I did not attend Otakon. While I don’t regret my decision, I still missed being there, so I was extra stoked to return to DC for 2026. While I’m not from the area, I considered this convention to be an annual homecoming of sorts. There’s still nothing like Otakon, even (or perhaps especially) in an age where anime cons keep popping up and attendance is exploding.
The Basics
Otakon 2026 was held at the Walter E. Washington Convention Center in Washington, DC from July 31 to August 2. In a rare and pleasant change, the weather was surprisingly good, with temperatures hovering below 90 degrees F and only a Sunday storm at the end being an issue. According to official numbers, this was the most attended Otakon of all time, at 47,049.
And while the US and the world has moved on, I still think it’s important to bring up the masking policy, or lack thereof. I know it’s sadly impossible to convince the majority of people to stay masked at this point, I wish they took COVID-19 more seriously. At the very least, the spaces (including the Artist Alley and Dealer’s Hall) were well ventilated, and they don’t forbid masks either. (It can just be a good way to avoid getting sick in general.)
The theme this year was “Swords and Sorcery,” and attendance badges used official art from Final Fantasy XIV with designated classes such as Summoner, Wizard, etc. People could also volunteer to play a scavenger hunt-esque RPG that involved finding images of runes hidden all over the convention center and then “fighting” enemies at a guild. I participated a bit with friends but didn’t get a chance to do any battling myself. As far as I could tell, it was a fun idea implemented somewhat awkwardly, but I understand that it’s hard to make a game like this that accounts for all the different priorities attendees might have.
The New(-ish) Autograph Policy
Since last year, Otakon has done away with the in-person, first come first served international guest autographs lines of the past. Instead, they switched to a system that required people to sign up for autographs via the Guidebook app that was still first come first served but meant that the struggle happened entirely online.
The rollout for 2026 was marred by a few problems. First, when autograph sign-ups initially launched a couple weeks before the con, the Android version of the app could not select any of them, and those on iPhone could only select one autograph total. When they redid it later (and over multiple days to spread the load), the app would not automatically update at the start time, and you had to swap in and out between them. If you didn’t know, this meant losing precious seconds that might be the difference between getting an autograph and not. Also, you couldn’t sign up for two autograph sessions that overlapped even the slightest, so if you had two guests with conflicting schedules, you couldn’t get both, even if neither had a particularly long line.
Despite personally getting many autographs over the years through the previous approach, and despite potentially losing out on sign-ups due to the above issues with Guidebook, I welcomed the new policy. The song and dance required to get access was always ridiculous, with people hovering as close to the autograph area as possible without technically being “too close.” The fervor with which people rushed the line was also unpleasant and dangerous, and I’ve personally seen someone have a panic attack when they got caught within the aggressive push. Then there was the amount of time you had to dedicate to get into position to even have a chance (an hour at least), and it meant losing out on other things you might have wanted to do or see. And because it needed to account for throngs of people, the Autograph Area was in the Dealer’s Room, adding to what is already one of the most crowded sections of Otakon.
With the change, autographs instead were held on the 3rd floor, near Main Events, turning all-but-inevitable chaos into a fairly subdued experience.
VTubers Officially at Otakon
While VTuber fanart has been a part of the Artist Alley in recent years, and even a few companies have appeared as vendors (e.g. Phase Connect), this was the first year that VTubers were officially guests at Otakon. The lineup was slim but varied, ranging from prominent stars like Ironmouse to talents with smaller fanbases. Should they start to have a bigger presence (and more heavy hitters) in the years to follow, I wonder how it might affect attendance numbers, given that despite a good degree of overlap, not all anime/manga fans are VTuber fans and vice versa.
Unlike at OshiUplink, the official meet and greets were free, and were treated more or less like autographs—including being held in the same area and requiring sign-ups via Guidebook. I got the chance to talk to Izumi Teeny and Bonnie Barkswell this way. I wish I could have seen Ironmouse’s panel, but Guidebook can be a clumsy app, and I wasn’t even aware she had one. However, I did go to Hylo’s Anime and VTuber Jeopardy panel, and was fascinated to see what came easily to the other players and what stumped them. The fact that people struggled over the question of what anime “Hare Hare Yukai” came from is a very quick way to make me feel the passage of time.
There was also a VTuber concert by Teeny, Bonnie, Rachie, and Yumemi. I couldn’t catch the very beginning, but still managed to watch most of the girls. Given that most of them appear via screen, Otakon made the decision to hold the concert in a video room instead of an event space. Despite that, Yumemi actually appeared in person as well and performed with her animated counterpart, even running up and down the small aisle.
Idolspace
Speaking of concerts (and VTubers), I went to see Phoebe Chan perform. I almost didn’t make it because I mistakenly thought the Idolspace area (where Phoebe was) and the Featured Events area (which had some idol and cosplay performances) were the same thing. That was on me for not being aware of that distinction, but I think my confusion was understandable.
The preshow featured a fun overseas idol duo called the ChiRi Girls. Their hard work was evident, and I’m curious to see where they’ll be in a couple more years. Phoebe meanwhile, is someone I had heard about for years but started paying more attention to after she became a part of the VTuber trio Densetsu.exe. She’s been going for about 10 years at this point, and I could feel a strong sense of professionalism and polish that clearly came from that decade of experience. Even when there were some technical issues, Phoebe managed to take it all in stride and still give a powerful performance. She did an excellent “Hot Limit” cover too.
As someone who enjoys VTubers and some idol anime but isn’t big into idols in general, it was interesting to get a taste of a world that felt very familiar in many ways, yet unfamiliar in just as many other respects. In particular, it’s the embrace of certain aspects of Japanese idol culture combined with a more “outsider” approach that I find fascinating. It’s like they’re trying to decouple idols from the power structure and hierarchy found in Japan and keep only the fun aspects, and I can respect that, even if it’s not perfect. Another thing I noticed about the Idolspace that I enjoyed is that there was no seeming need by the audience to stand—they provided a space for those who had that desire, though. Sometimes, I just want to sit and enjoy things.
Interviews
I got to speak to two guests this year and conduct interviews:
The first was with Minami Masahiko, co-founder of Studio Bones.
The second was with Oka Kunio, a man famous for designing food replicas like the ones you see at restaurants all over Japan. Stay tuned for this one!
Panels and Screenings
I make it a point every year to go to panels at Otakon, professional- and especially fan-run. Even when the quality varies, I can sense the passion for the subject, and it encapsulates a lot of what I enjoy about conventions in general. Sadly, I did not attend any 18+ panels this year because I was perpetually too tired in the evening. Also surprisingly, I don’t think there was a single Record of Lodoss War panel. Perhaps that’s just a sign of the times.
Detective Conan the Movie: The Million Dollar Pentagram
There has been a renewed push for Detective Conan over the past few years (including specifically using the name Detective Conan instead of Case Closed), and part of that effort this year has been screenings of the recent movie The Million Dollar Pentagram. Otakon was one stop on this tour, and since the YouTube showings that have been happening on occasion generally include the newest films, I decided to watch here.
Conan movies are a fascinating tradition, in that they have been a thing for literal decades now, and they try to be a reliable annual staple in Japan that feels both familiar and new. The Million Dollar Pentagram features phantom thief Kaito Kid and fellow young detective Hattori Heiji, as well as a string of murders that seem to be more than just about revenge or malice. In terms of the mystery, the ridiculous spectacle of action and violence, and some surprising plot revelations that extend beyond the movie itself, I think it was one of the stronger Conan entries I’ve seen.
Magic Knight Rayearth
There was a lot of promotion and hype around Magic Knight Rayearth‘s upcoming remake, including a stamp rally. The series holds a lot of sentimental value for me, including having a wonderful memory of listening to “Yuzurenai Negai” by the original singer back at Otakon 2010, so I knew that I had to attend the screening of the first two episodes. In a time when the word isekai is sometimes viewed with derision, it’s like a breath of fresh air to have this old and reliably superb work spring back to life.
I haven’t read or watched Rayearth properly in a long time (the most was using the characters in Super Robot Wars), and Hikaru came across here as more serious and earnest than I remembered. I wondered, was my memory faulty or were there significant differences between her anime and manga depictions? Also, seeing Fuu bring up RPGs as if they were this relatively unknown thing felt delightfully quaint in 2026. And of course, we haven’t seen this many chibi transformations in decades.
Notably, they did not include the opening theme.
Vermillion Mask
I thought this was going to be a screening of the first episode, but it turns out “preview” can just mean showing a few drawings and video clips. The premise of the series reminded me a lot of The Mask starring Jim Carrey, so I asked the staff during the Q&A whether it was influenced by the film. It turns out that the author of the original manga was inspired in part by The Mask, so the animators use it for reference. (In hindsight, I should have asked whether the comic and/or the movie influenced Vermillion Mask.)
I don’t know if I’ll watch the show, but I’d like to know if any character ever says, “Somebody stop me!”
Discotek
I’m not generally into industry panels that are just about announcing new titles, but I make an exception for Discotek (and to an extent their cousin AnimEigo/MediaOCD). Being in a room full of fans who love nostalgic and obscure anime makes me feel like I’m among my people. There were a lot of welcome license rescues this time around, with the heaviest hitters in my opinion being Toradora! and Mawaru Penguindrum, the latter of which was known for having a lot of technical issues with its original blu-ray release.
A History of Anime in Mexico
In life, an easy pitfall is to assume that the way things happened in your corner of the world was also the case everywhere else. Fandom is no exception, which is why a panel about the history of anime in Mexico was exactly the sort of thing I wanted to see. The panelists—a husband with a business career that had him working in Mexico with Japanese companies and a wife who majored in history—did a great job of looking at things from both cultural and economic perspectives. They also took time to dispel some myths (crime rates did not go down during episodes of Dragon Ball Super), and to teach the audience aspects of the fandom that might not be obvious to those outside of Mexico. For example, a lot of famous Mexican voice actors with decades of experience have also worked on anime dubs, and their popularity has helped them to establish a convincing anti-AI base. Hearing about the clash between Japanese bureaucracy and the more laid-back approach to business in Mexico was also fascinating.
The Ramen that Keeps Anime Going
While I unfortunately missed all the full-on industry panels from Production I.G., I did manage to attend one by director Ueda Yoko. Rather than talk about the nitty gritty of making anime though, it was about the power of ramen. It was both informative and tongue-in-cheek, with the primary emphasis being that it’s fast and hot food that can help boost morale and lift spirits before, during, and after production.
Despite this panel being the product of an official guest it really felt like a lighthearted bit of fun from Ueda about a topic of great interest to her, as opposed to a cheeky attempt at marketing. That’s the culture of Otakon I truly appreciate.
Mecha Kaikan
One thing I missed out on by not attending last year was the debut of a dedicated space for panels and workshops about giant robot media, known as the Mecha Kaikan.
I appreciate its existence on a conceptual level, and I do like how you’re encouraged to build model kits. At the same time, I always feel conflicted when it comes to attending mecha–related things precisely because it’s a genre near and dear to my heart. I don’t want to be one of those people who judges robot panels and tries to prove my kung fu is stronger (as one Daryl Surat likes to put it), but this is also a place where it’s easy to bullshit your way through if the audience doesn’t know better.
What I will say is that I don’t think knowing absolutely everything about a topic should be a prerequisite for doing panels, nor do I think they need to be for hardcore experts only. At the same time, I’m not a fan of papering over gaps in knowledge with wackiness and implying that everyone is on the same page as you.
It’s easy to be critical when you’re not doing the panels yourself, though, so I still have respect for those who genuinely try to make good presentations.
Food
I spend some time in DC before the start of the convention every year, and 2026 was no exception. Somehow, I ended up eating a lot of fried and roasted chicken within a short amount of time! This included Peruvian-style rotisserie chicken and Chicken+Whiskey, fried chicken on a savory donut at Astro Doughnuts & Fried Chicken, and “snow-topped” fried chicken (accompanied by a bowl of rice with chicken drippings and butter) at an old favorite in Bantam King. All were good and worthwhile.
During the con, I mostly ate meals in my own hotel room, but did get some stuff at the convention center. Ben’s Chili Bowl and the caribbean food spot are still obviously overpriced yet reliable. On Sunday after the con wrapped up, my friends and I went to 2fifty, a Texas-style barbecue joint. While they were already out of many of their signature items, what remained was still quite good.
Final Thoughts
While some of it may be residual nostalgia, this year’s Otakon reminded me why it’s still my favorite. As the biggest conventions get bigger, it becomes an increasingly welcome presence. Otakon is not obsessed with either nickel-and-diming you outright (even “paid ticket” events offer some free seating) or encouraging you to spend as much as possible (though you still can if you really want to). Attending makes me feel both energized and relaxed, and I think that can’t be underestimated.
If there was ever any sign that I’ve become a serious fan of VTubers, it would have to be the fact that I went to the Fantôme Thief’s Revenge concert in Atlanta, Georgia.
When this joint event between Dokibird and Mint Fantôme was first announced, I felt conflicted about whether to even go. On the one hand, I had decided to support Doki in ways I hadn’t back when she was Selen Tatsuki. Mint, for her part, is a charismatic performer whose friendship with Doki goes back to their previous incarnations in VTubing. On the other hand, this was pretty bad timing, being right before the holidays. Moreover, the concerts I had attended previously were either attached or adjacent to other things I was already doing, like conventions. Anime Weekend Atlanta was the same weekend, but I simply couldn’t stay too long.
But between the lack of an official streaming option and the reveal that one of the special guests was none other than Dooby (another big name who made the decision to go independent), I made my decision to go. I had a focused mission: Fly to Atlanta, go see Doki and Mint, sleep, go home. (Also, eat some fried chicken and Bojangles.) I never thought I’d do something like this, but here I am, and it was totally worthwhile.
Entering the Venue
Upon first arriving in the area of the concert, I saw a large line outside that gave me a bit of deja vu from Breaking Dimensions. While waiting in line is never fun, I did enjoy seeing all the eager fans. There were the Doki and Mint supporters, of course, and Dooby’s reputation precedes her, but I even saw some who were clearly there for the other guests—PiaPiUFO, Phoebe, and Juna Unagi.
After finally getting into the concert site, the Tabernacle, I was faced with a second line—this time for merch. Unfortunately, the penlights sold out before I could make it to the front, but I bought a few other things instead, including a holographic ticket that isn’t going to be sold online. Also, I thought there was a chance I might not get my hands on a concert penlight, so I brought a backup with me, just in case. From there, I made my way up to the balcony. To my surprise, a good number of seats were available despite the fact that the tickets for them were unreserved, so I got to have an amazing and unobstructed view. After a half-hour delay (due to the sheer number of people trying to buy merch), things kicked off with the opening acts.
The Opening Acts
I had little prior experience with PiaPi, Juna, or Phoebe. At the very most, I’d seen Phoebe on guest lists at conventions here and there. Knowing the lineup, I actually spent a bit of time in the days prior and on the plane getting to know their music. While I got the sense that they were all decent performers, I wasn’t prepared for how much more impressive they were at the concert. PiaPi did a great job building up hype and using her 2D model to its fullest, and she just sounded great. I’m glad I finally got to hear Phoebe in action, who was solid all around, and I enjoyed her cover of “Snow Halation.” Juna’s sultry voice and presentation worked well, though I’m not quite the audience for a parody song that describes gay sex and waterworks in extremely fine detail.
Each of them sang three or four songs, and were almost half the entire concert. I think Doki and Mint granting so much time to the other VTubers is very representative of them and their desire to create events that celebrate others. PiaPi has the smallest following out of all of them, and she’s seeing a significant bump in subscribers. While waiting in line before the concert, I happened to spot two PiaPi supporters (known as Pickles) dressed in themed happi.
It was then time for the main acts, and the screen transitioned to Dokibird—except she wasn’t singing or dancing, but was instead indulging in her latest gaming obsession: Marvel Rivals. The audience spent seven minutes watching her play as Luna Snow while Mint was telling her to wrap it up. If there’s anything that a more corporate VTuber event wouldn’t be able to do, it’s probably silliness like this.
The Main Attraction
Finally, on a stage decorated with their fan mascots waving penlights, Doki and Mint warped in, fully 3D and amidst raucous applause. I can’t say enough about how beautiful their models were. It was as if the original 2D designs had been brought to life, and to make them look that good both when still and in motion was no easy feat. Mint’s concert model wasn’t her official one, but the quality was still very nice. Dokibird’s is her official one, and she even hired for it a highly regarded artist in KarakuriPower (who’s done work for hololive).
I didn’t recognize a lot of the songs, and I even thought their first act was an original number when it was actually a cover with the words “Doki” and “Mint” swapped in. Regardless, I enjoyed the sheer variety of musical choices. Doki acknowledges that she’s nowhere near as good a singer or dancer as Mint, and so her individual performances tended towards meme picks, like “Xue Mao Jiao”, the Doraemon opening, and the Five Nights at Freddy’s theme. Even if she admitted to flubbing some choreography, I think she succeeded in bringing the fans along for the ride. Hopefully next time, she can do a Cantonese song too.
Mint loves idols and idol culture with all her heart, so she tended in that direction. Her performance of “New Romantic Sailors” was a personal highlight. Not only is it one of the best Love Live! Songs, period, but I actually got to see it performed live at Anime NYC a few years ago. While she delivered in spades on the “Minto-chan Laser Beeeaaaam!” (playing off “Riko-chan Laser Beam” from the original performer), I also appreciated seeing her substituting her name for all three Guilty Kiss singers in the lead-up to the yell. However, in between the idol stuff, she threw in a cover of “Break Stuff’ by nu metal band Limp Bizkit, which has become an anthem of sorts for Mint. The ghost maid is such a solid entertainer.
The Ultimate Callback
One of the biggest moments of Fantôme Thief’s Revenge snuck up on the entire audience. A duet began with Mint sitting at a table with a cup in hand. Doki walked over, also holding a cup, and then she sang the words that brought some of the loudest cheers of the evening: “Someday, we’ll have our last conversation…and drink our last cup of coffee.”
The significance of lilypichu’s “Last Cup of Coffee” to Doki and her fanbase cannot be understated. For her original supporters in her earliest days of VTubing, this was like Doki’s gift to them shortly before her original graduation. For those who discovered her as Selen, her cover music video was supposed to be her Christmas present to us, but its removal is what started the chain of events that led to her tumultuous firing and subsequent revival as Dokibid. And now here she was, almost a year later, singing it once again, as if to show that she dictates what the song means to her and her fans.
Much of Dokibird’s return since February has seen her reclaim aspects of her identity, such as her fan name (Dragoons), her appearance (a design by the same artist used for Selen), and her subscriber count (800,000+). This song was one of the last pieces of the puzzle. In later streams, Doki and Mint revealed that the decision to have this in the concert was Mint’s idea, and that it was to make “Last Cup of Coffee” a happy memory for the Dragoons.
Dooby and a New Age of VTubing?
What actually brought the loudest yells of the concert was the awaited appearance of the final guest.
As the stage screen transitioned to a red curtain backdrop, “Sugar Song and Bitter Step,” the ending theme to the anime Blood Blockade Battlefront, began. Mimicking the ending video, Doki appeared in a spotlight, followed seconds later by Mintl. This left an open spot in the middle, where a little train car suddenly appeared, signaling a warp-in by Dooby in all her train-conducting Jerboa glory. The audience erupted and I did my best to add to the excitement. This song was also a popular karaoke choice for Dooby in her previous identity, so it felt extra special to her fans who have been supporting her these past five years. Seeing them all dance and kick and just have a good time is one of my fondest memories from this concert.
I think the crowd reaction wasn’t simply because Dooby is a beloved Vtuber. Just as important was how these were three of the biggest names in English VTubing, now all working as indies. It was as if a new era had arrived.
Bringing It Home
The “final” song of the evening was emblematic of the general irreverence of the concert as a whole: “I Just Had Sex” by The Lonely Island. PiaPi, Phoebe, and Juna all joined in, still using their 2D models. The comedic nature of the song had the whole audience bopping along, and I think the fact that Doki and Mint brought the opening guests in for this performance once again speaks to their general interest in using their platform to bring attention to lesser known talents. It was an attitude that benefited their previous company, and it’s heartwarming to see them follow through on their desire to help others out. The encore was “shake it!” by Vocaloid composer emon. I didn’t know it myself, but in hindsight, having it end with a Hatsune Miku song is about as appropriate as it gets for a VTuber concert.
Closing Thoughts
While there was no official stream of Fantôme Thief’s Revenge, the two made it okay to record the concert. Later, I learned that there was a handcam stream on Twitter that had over 50,000 concurrent viewers. Days later, a full version was also uploaded to Youtube:
So why did I write all this up despite it being freely accessible to everyone? Because I think it’s important to still have these memories put into words for posterity. Also, I think there are some things that don’t easily come across even with a video,
In terms of criticisms, I don’t have many. I wish I could have gotten a penlight. Some of the reserved seating (which I wasn’t a part of) forced that part of the audience to view things at an awkward angle because of the screen. Not only was the timing of the concert inconvenient because it was so close to the holidays, but it also overlapped The VTuber Awards which had a halftime performance), as well as hololive EN’s musical, “The Broken Promise.”
I’m happy I ended up going to “Fantôme Thief’s Revenge.” It was both Dokibird and Mint’s first true 3D concert as their current selves using their updated designs, and I cherish the fact that I could be part of it. Getting to see Dooby make her concert debut was also a treat, as was being better introduced to Piapi UFO, Phoebe, and Juna Unagi. It was an experience that rewarded my fandoms and helped me discover new possibilities. And while I hardly talked to any other fans, I could at least appreciate their mutual enthusiasm and energy.
OGIUE MANIAX 