On the Existence of “Virtual Characters” in Japan

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On the existence of “Virtual Characters” in Japan

Ryoichi Sato (1M170418)

Professor Graham Law

Fall Semester

Abstract

The purpose of this thesis is to discuss the reasons for the development of the

“virtual character” culture in Japan and its future development. Virtual character culture has had a major impact on entertainment in modern times, and continues to develop at a rapid pace as a unique culture in Japan. In this thesis, I would like to look back at the beginning and development of Japanese unique “character” culture from the perspective of “anthropomorphism” and discuss how the “virtual characters” at the forefront of this culture will affect our real world in the future.

Table of Contents

Chapter 1: Introduction...... 4

Chapter 2: Definition of “Virtual”...... 5

Chapter 3: Definition of “Character”...... 8

Chapter 4: Relationships between “Japanese characters” and “Animism”...... 11

4.1: Japanese “Character” and “Animism”...... 11

4.2: “Japanese Animism” and “personification anthropomorphism”...... 15

4.3: “Yuru-Chara” and “Japanese Animism” ...... 21

Chapter 5: Virtual Characters...... 24

5.1: About “Hatsune Miku”...... 24

5.2: About “Virtual YouTuber”...... 24

5.3: Similarities between Hatsune Miku and Virtual YouTuber...... 25

5.4: Advantages of Virtual Characters...... 29

5.5: Differences between Hatsune Miku and Virtual YouTubers...... 30

5.6: Differences between Virtual YouTubers and YouTubers...... 32

Chapter 6: The relationship between virtual characters and their fans...... 35

Chapter 7: Virtual Characters and the Future of the Real World...... 40

Works Cited...... 42 4

Chapter 1: Introduction

Nowadays, “Virtual” is awfully familiar in our daily life. In other words, virtual is eroding to the real world, especially in Japan. For example, various virtual characters appear in concert, various virtual YouTubers upload videos on a daily basis, and various

Virtual Reality Games are available. People enjoy a variety of virtual entertainments on a daily basis. And sometimes, some people are attracted to virtual rather than real. The initial goal was to investigate a variety of virtual contents, such as video games, but since the content related to virtual in general would be too broad and complex, this report focuses on ”virtual characters” to narrow down the content.

To investigate virtual characters in more detail, I decided to find out the

Answers to about two questions. The first question is “why did the existence of virtual characters develop in Japan?”. The second question is “what will happen between the virtual and real boundaries, in futuristic terms?”. From these questions, I would like to think about the relationship between virtual characters and real humans, the current situation, and future changes.

Chapter 2: Definition of “Virtual”

Before thinking about these questions, it is important to define what virtual is, and what a virtual character is in the first place. Firstly, according to the Longman

Dictionary of Contemporary English (n.d.), “Virtual” means “very nearly a particular thing” and “made, done, seen etc. on the Internet or on a computer, rather than in the real world” (para. 1). Also, according to Merriam-Webster (n.d.), “Virtual” means

“being such in essence or effect though not formally recognized or admitted”, ”being on or simulated on a computer or computer network”, “of, relating to, or using virtual memory”, and “of, relating to, or being a hypothetical particle, whose existence is inferred from indirect evidence” (para. 1). However, the word "virtual" in English also has meanings such as “gradual”. Therefore, I would like to focus on the meaning of the word as it is used in modern Japan, not as it was originally used in English.

When the word “virtual” is used in Japan, it is usually in the sense of “augmented reality” or “virtual reality”. In short, most Japanese use the term “virtual” as an abbreviation for the term "virtual reality", so in this report, virtual is defined as

“thing that imitates something existing on the Internet or network”. Therefore, a virtual character can be defined as “a presence on the Internet created by imitating humans and other living things”. In addition, it should be noted that it is basically 6

represented by a 2D or 3D model. However, with this alone, we cannot know exactly what a virtual character is and what is not a virtual character, so it is important to consider in more detail about the definition of virtual character. For example, can the characters that appear in the animations that are broadcast on TV and the animation movies, or appearing in video games be called virtual characters? Certainly, many of them are designed with real humans and creatures as models, and in particular, some characters that appear on animations that are distributed on the internet also satisfy the condition that they are on the internet. However, they cannot be defined as virtual characters. Put simply, they have less impact on the real world. Almost all characters appearing in animation or games, live in one closed world called “story”. The word

“story” can be paraphrased as a script. Anyway, they only act as expected by the authors or creators. They are each driven to enliven the story, sometimes killed, or resurrected by creators. Every move they take is a necessity in the story, and seemingly meaningless behavior is basically a hint of the later story. On the other hand, virtual characters are not like that. Many of them behave like real humans.

They are mainly working on networks that exist in the real world, not in the created world of anime. Therefore, virtual characters have a stronger influence on the real world than anime characters. Of course, some anime characters can have a big impact 7

on the real world. For example, a funeral of a character in the real world. Popular characters that have appeared in manga or anime and died in their work may have funerals in the real world. The most famous is probably the funeral of “Toru Rikishi” in 1970. Toru Rikishi is a character that appears in the manga, Tomorrow Joe. He was

Joe’s biggest rival, and he was a popular character for many fans because of his quietness and coolness, but the heat hidden in his heart. He eventually defeats Joe, and shortly thereafter dies from punches received during the contest, so many fans were shocked by his death. For that reason, on March 24, 1970, his funeral was held at the Kodansha Auditorium. The venue was so authentic that a real monk was called, and a large number of fans took part (Okakura, n.d.). In this way, there have been examples of fictional characters having a great influence on the real world and real humans, and virtual characters are considered to be stronger and have simpler effects on the real world. There is no record at this time that the funeral of the virtual character was held, but it may be done in the future. Simply put, fans want the products that Virtual YouTubers are introducing and the games they are playing.

Chapter 3: Definition of “Character”

Next, I would like to define the word "character" as well. Generally, a character is a person who appears in anime or games. However, there is a way to use

“chara(キャラ)” and “character(キャラクター)” properly in the way of thinking that has developed independently in Japan. This idea was invented by Go Ito in his book

Teduka Is Dead. According to him (2005),

Nowadays, “character” is generally considered to be “a character in a manga (or

anime, etc.)”. In the case of manga, it is almost synonymous with “characters”. In

the words of Kazuo Koike, the author of the original manga, “the character

stands out” in this sense. On the other hand, a “chara” can be easily understood if

we imagine a simple figure such as Hello Kitty (p.88).

Many people do not know the settings or stories around Hello Kitty.

However, she is loved all over the world and is now a representative “chara” of

Japanese “kawaii” culture. On the other hand, “character” is based on "chara", but requires story and background settings. It is generally said that there are more

“character” than “chara”. “Characters” appear in various stories with their respective roles, and they cannot exist without that role. It seems that this is closer to the image 9

of a more general character. Given these definition, virtual characters are more like

“chara” than “character”.

However, this idea cannot be fully affirmed. This is because, in recent years, the line between “character” and “chara” has become blurred. For example, there is a character called “Pikachu”. Originally, this character was one of the many monsters that existed in the game Pokémon. In short, it was just a kind of "character" that existed in the story of Pokémon. However, its fame and popularity exploded when

Pikachu became the main character in the anime Pokémon. As a result, “Pikachu” became one of the most famous characters in the world. Today, there is hardly a

Japanese person who does not know who Pikachu is. On the other hand, there are many people who know almost nothing about other Pokémon besides Pikachu. It is even thought that the popularity of Pikachu alone has surpassed the popularity of its main work, Pokémon. A notable example of this is the movie Detective Pikachu released in 2019. This movie is a so-called “live-action movie” produced in

Hollywood. Of course, Pikachu is the main character in this movie, but many other

Pokémon also appear in it. Nevertheless, the title of the movie is Pikachu, not

Pokémon. There is a Pokémon logo on the poster, but it is clearly smaller than the word “Pikachu”. In fact, the Japanese version of the poster does not even have the 10

Pokémon logo on it. This is a clear indication that Pikachu, which used to be just a

“character” in the world of Pokémon, has now stepped out of the world of Pokémon and acquired its own personality as a “chara”. In this way, the line between

“character” and “chara” is now blurred as anime and video games have become more commonplace in culture.

There is also a difference that viewers feel between animation characters and virtual characters. Viewers often unconsciously think that the behavior of an anime character is based on the character's own thoughts. The actions taken by the characters in the animation and the dialogue are determined by the script. Almost all viewers watch animation while understanding that. Nevertheless, while watching the animation, it can be said that the viewer rarely focuses on the real human behind the characters, such as voice actors, screenwriters, directors, etc. Viewers enjoy how the characters themselves think and act in the anime world. On the other hand, many fans are often interested in the real human behind the virtual characters.

Chapter 4: Relationships between “Japanese characters” and “Animism”

4.1: Japanese “Character” and “Animism”

As mentioned above, “character” and “chara” have developed in a unique way in Japan. What has brought about this development, which is unparalleled in other countries? One of the things that have brought about this unique development is the unique Japanese religious consciousness that has been handed down since ancient times. Since ancient times, there has been a deep-rooted belief in animism, or in more

Japanese terms, a belief in “Yaoyorozu beliefs”. Takumi Higaki (1989) uses the term

“日本的アニミズム[translation: Japanese animism]”(p.7) to describe these

“Yaoyorozu beliefs”, because they are unique compared to other countries and cultures. Animism is the idea that spirits and souls reside in all things, both living and inorganic. This idea was named and established in the late 19th century by the British anthropologist E. B. Tylor. However, this idea has a longer history, and this idea has existed widely in various religions, customs, and cultures since ancient times. It is obvious that this idea has existed in Japan since ancient times. In Japan, the idea that

God dwells in everything and everyone that surrounds us is widely and uncomfortably established in the culture and society. The Japanese call these gods 12

that dwell in all things “Yaoyorozu gods”. The word “Yaoyorozu” is a Japanese word meaning “a great many”. Also, in the Kojiki, there is a description of “Yaoyorozu gods”. The Kojiki is said to be the oldest existing history book in Japan and was compiled about 1,300 years ago. From this, we can see that the “Yaoyorozu beliefs” has existed in Japan since ancient times. Today, most Japanese people are atheists, and Japan itself is said to be a non-religious country. At the same time, however, many Japanese have unconsciously accepted this idea of “Yaoyorozu gods”. It is no exaggeration to say that many Japanese have been indoctrinated with this idea from their childhood by their surrounding environment. For example, even today, many children are taught by their parents, “Do not leave rice behind, because God resides in every grain of rice”, and they are also taught, “God resides in the bath room, so you must clean it frequently”. In short, many Japanese children are taught by their parents to think that “God dwells in things, so we must take good care of them”.

Even though it is only for discipline, this way of thinking becomes an important core for children to form their personality. As a result, it can be said that many Japanese people have come to have a fundamental belief that things should not be treated roughly, and that life should not be wasted. Another characteristic of “Japanese animism” is that, since ancient times, the Japanese have believed that divine spirits 13

reside not only in objects but also in animals. It is interesting to note that in many cases, it was not bears, wolves, and other animals that were generally regarded as powerful, but foxes, raccoons, snakes, dogs, and other animals that were familiar to humans. Since ancient times, Japanese people have easily treated familiar animals as gods and worshipped them or feared them as beings that could bring hauntings or disasters. Even in modern times, “Inari-sama”, a fox-like animal of the gods, is enshrined at shrines all over Japan, and guardian dogs, “Koma-inu” are placed at the entrance of most shrines. Furthermore, the Japanese sometimes treated dates and even events as gods. This is not so common nowadays, but when our grandparents were children, they used to call the New Year “Shogatsu-sama”. Thus, since ancient times, Japanese people have believed that everything has a soul or a god in it, from natural objects such as mountains, huge rocks, and trees, to familiar things such as food, plants, and animals, to artificial things around us, to natural phenomena such as lightning and storms, and even to conceptual things. It can be said that they personified everything and were also aware that they were living in a world inhabited by such animistic “Yaoyorozu gods”.

By the way, animist beliefs are not only found in Japan. The word “animism” is derived from the Latin word “anima”, meaning “spirit”, and animism itself is the 14

most primitive form of religion, so it is not hard to imagine that this concept has existed since ancient times all over the world. For example, one of the origins of

Taoism, a religion unique to China, is the belief in the existence of immortal hermits, which is another example of animistic thinking. So why did a more specific character culture develop in Japan? One possible reason is the uniqueness of “Japanese animism”. According to Takumi Higaki (1989), in ”Japanese Animism and the

Religious View of Nature: Discovering a Special Japanese Religious Consciousness”,

The idea of recognizing spirituality even in plants and trees has already

appeared in Indian Buddhism. However, in most Indian philosophical thought,

the idea that living beings can be liberated by “clear knowledge” and that plants

and trees can attain Buddhahood as plants and trees is not taught. On the other

hand, Japanese Buddhism recognizes the Buddha nature in inanimate objects

such as land, mountains, rivers, sand, and gravel, and this becomes a Buddhist

proposition that Japanese people like. In connection with some Buddhist

ideology, mounds of insects are built for killed insect pests, and in mountain

villages, grass and tree cultivation sites are built to make offerings to the spirits

of cut underbrush and felled timber. This custom even led to the creation of folk 15

events such as needle offerings, brush mounds, and doll offerings, assuming the

spirits of inanimate objects (p.14).

In other words, “Japanese animism” in Japan is something that is connected with Buddhist thought. As a result, the Japanese have developed their own unique religious views that differ from the original Buddhism. Japanese animism, which sees personalities not only in plants and animals but also in inanimate objects and artifacts, was a uniquely Japanese concept.

4.2: “Japanese Animism” and “personification anthropomorphism”

The basic idea of “animism” is to give character to everything that surrounds us, sometimes as a god, sometimes as a calamity, which has been practiced by the

Japanese since ancient times. This practice of finding a personality and giving a character to a being that does not originally have a personality is called “personification anthropomorphism”. In simpler terms, it means to give a human character to a non- human thing or animal. This technique has been used not only in Japan but also in many other countries and cultures. In ancient Greece, it was called “Prosopopoeia” and has been used in various paintings, sculptures, and poems. Even today, personification anthropomorphism is one of the mainstream techniques. In terms of characters 16

originating from countries other than Japan, “Mickey Mouse,” one of the most famous characters in the world, is a personification of a mouse, and "Thomas the Tank Engine," for example, enjoys wide popularity as a character that personifies an artificial object. In

Japan, the culture of personification anthropomorphism has developed in its own way and has been accepted by many people. Originally, personification anthropomorphism in Japan dates back to the late Heian and Kamakura periods, when the national treasure

Chojujinbutsugiga (Caricatures of Birds, Beasts and Humans) was created (ORICON

NEWS, n.d.). This work is divided into four parts, and the first scroll, Kou, depicts anthropomorphic monkeys, frogs, rabbits, and other animals. In this work, the animals perform human-like actions such as sumo, playing with water, and shooting bows

(Togano-mountain Kosan-temple, n.d.). It is said that this work was the beginning of manga and anime in Japan. Kuniyoshi Utagawa, an ukiyo-e artist of the late Edo period, is also famous for his anthropomorphic paintings. In his works Neko no Suzumi and

Hayari Neko no Kyogenzukusi, he depicted cats wearing kimonos and geta (wooden clogs) and behaving like humans. In another series of works called Goldfishes, goldfish are anthropomorphized, and their tails are treated as legs, and they walk on two legs and live like humans (Aono, n.d.). In addition to animals, Kuniyoshi Utagawa also anthropomorphized plants and vegetables. In Dougai Toumorokosi Syakkyou no 17

Syosagoto, he depicts a corn plant waving its long hair like a Kabuki actor (Ota

Memorial Museum of Art, n.d.). In addition, during the Edo period, there was a huge craze for “Namazue (catfish paintings)”, a general term for nishiki-e (brocade paintings) depicting the catfish as a subject, many of which were anthropomorphic. Folk beliefs that catfish activity causes earthquakes have long been familiar to the Japanese, and when the “Great Ansei Earthquake” occurred on October 2, 1855, it triggered the creation of many catfish paintings. In this way, the technique of anthropomorphism has appeared many times in the history of Japanese art and is already deeply rooted in the culture. Furthermore, there are many anthropomorphic beings that have appeared in

Japan's fairy tales since ancient times. For example, in Momotaro, Japanese most famous fairy tale, anthropomorphic dogs, monkeys, and pheasants appear. They talk to the main character, Momotaro, in human language. In Urashima Taro, anthropomorphic turtles and fishes appear, speak in human language, and sing and dance like humans.

This culture of anthropomorphism has been accepted because of the Japanese concept of

“Japanese animism”, which has been held by the Japanese people since ancient times.

For the Japanese, the idea that animals and inanimate objects have personalities is now common knowledge. 18

Japanese people have been anthropomorphizing things around them based on the idea of “Japanese animism”, but in recent years, a different direction of

“anthropomorphism” has become mainstream in Japanese otaku culture. This is “Moe anthropomorphism”. The method of “anthropomorphism” that has been used by various artists is similar to the “Prosopopoeia” used in ancient Greece. Simply put, the characters in anthropomorphism had human elements, but their appearance was often that of the original animal or inanimate object. In contrast, the Moe anthropomorphism that has become mainstream in Japan in recent years is often depicted as a human figure in the image of the animal or inanimate object that served as the model. Hiroyuki Endo

(2017) discusses the difference between “anthropomorphism” and “Moe anthropomorphism” in A Study of “Anthropomorphism” in Comics: Objects Discussed in the Context of “Moe”. According to his analysis,

The children's cartoons published in newspapers “during the Meiji and early

Taisho periods overwhelmingly depicted realistic life” in the ”Sunday cartoon

column”, while “only in the late Taisho period did a large number of cartoons

anthropomorphizing plants, animals, and inanimate objects appear in the 'Sunday

cartoon' column, incorporating fantastic elements into the realistic elements of

newspaper children's cartoons.” The following is a summary of these works. 19

According to Xu's classification, there are (1) “animals without clothes”, many of which are still in their animal form, and a few of which walk on two legs. These animals are often pets or farm animals of humans, and they exist in a human-driven world and are considered mere animals to humans (they are not considered on the same level). On the other hand, (2) “clothed animals” are considered to have a social function due to their clothing, and to have the ability to abandon their own nature and become closer to humans. In addition, the “animals wearing clothes” can be broadly classified into (1) “animal head” + “human body” (for example,

“Anpanman”), (2) “full-length animal head” + “human body” (there are few examples of this today), and (3) “full-length animal body” + “clothes or decorative accessories” (for example, “Nora Kuro”). According to Xu, the prototypes of methods (1) and (2) can be found in classical Japanese works and caricatures for adults, but there are few examples of method (3) in the past. Nevertheless, the method of (3) is characteristic of the anthropomorphic method of comics that remains even today. The establishment of this method is considered to have involved the intake of methods from abroad, with which contact had already begun, and to have been further promoted by subsequent contact with Disney works. Xu highly appreciated the role of the Sunday cartoon column in this process of change. 20

Xu's analysis reveals the changes in anthropomorphic expression in Japan in a

simple way (p.114).

It is said that the “Moe anthropomorphism” technique was pioneered by the character “Bincho-tan”, a Moe personification of charcoal. “Bincho-tan” was created in

2003 by illustrator Takahito Ekusa. In 2004, the character was adopted as the mascot of the Minabe River Forest Association in Minabe Town, Wakayama Prefecture, a producer of Kishu-binchotan charcoal, and she is still extremely popular (asahi.com,

2010). Later, in 2007, a manga featuring Moe anthropomorphic characters of squid and other marine products, The invader comes from the bottom of the sea! became popular and was made into an anime, and the anthropomorphic boom arrived, and Moe anthropomorphism established itself as a common genre in anime and manga. In 2013,

Kantai Collection a training simulation game featuring female anthropomorphic versions of World War II warships and naval vessels, became a huge hit, followed by

Touken Ranbu featuring male anthropomorphic versions of Japanese swords, and

Kemono Friends featuring female anthropomorphic versions of various animals. The market has become so large that it cannot be called a transient boom. In this day and age, Moe anthropomorphism has already become one of the genres that play a major role in Japanese subculture (ORICON NEWS, n.d.). 21

4.3: Yuru-Chara and “Japanese Animism”

In addition to the above-mentioned characters, there is another existence that cannot be ignored when talking about anthropomorphic characters in Japan. That is the existence called Yuru-Chara. This is an abbreviation for “loose mascot character”. In

Japan, the term Yuru-Chara refers to mascot characters created mainly for the purpose of regional revitalization, introduction of local specialties, and dissemination of information about the region in general through events and various campaigns. Many of them are anthropomorphic or characterized versions of things that symbolize the region, such as “local specialties” or “tourist spots”, and they are the result of the ancient

Japanese animism. In fact, the website of the “Yuru-Chara Grand Prix”, the most important event for Yuru-Chara, contains the following sentence (n.d.).

It is said that Japan has eight million (yaoyorozu) gods since ancient times. In

other words, there are gods in the mountains, in the sea, in the river, in the forest, in

trees, and in flowers respectively. Yuru-Chara is also in all over the Japan, has

activities rooted in the each region (para. 1).

As you can see from this sentence, there is no doubt that the existence of Yuru-

Chara was born on the basis of “Japanese animism”. 22

Currently, there are more than 1,000 Yuru-Chara throughout Japan, and the number is still increasing. Why are so many Yuru-Chara being created? One of the purposes is “symbolization of concepts”. According to Sute Zyuro, “turning a symbol into a character, or icon, contributes greatly to the sharing of images” (para. 3). For a more concrete example, he(n.d.) says,

For example, when you are asked to imagine Hikone Castle, it is easy to predict

that different people will imagine different things. An overview of the castle, the

place where it stands, the former lord of the castle. Even the season and the time of

day can be imagined in different ways. However, if you create a character that is a

cross between a cat and a character, every person will imagine what the character

looks like when you mention the character's name, even if there are deviations from

the actual situation. The discrepancy between the images of different people will at

least be less than it would be without characterization. It is especially important to

unify the concept of a character so that it can be easily imagined and recognized.

And from a commercial standpoint, you can even make a profit by selling

merchandise, which is why there are so many characters on the market (para. 5).

In short, it is possible to raise awareness among people by bringing together concepts that are scattered all over the place and turning them into characters and icons. 23

This is not limited to Yuru-Chara but can be said for most of the characters created from “Japanese animism”. The strength of characters created by “Japanese animism” is that they can reinforce concepts that are difficult to convey as they are by making them into characters and icons and increase the recognition and understanding of the people who see them.

To summarize,

① The development of unique characters in Japan is deeply related to the “Japanese

animism” that the Japanese people have possessed since ancient times.

② The acceptance of “anthropomorphism” by “Japanese animism” led to the

establishment of the “Moe anthropomorphism” genre in Japanese subculture.

③ The characters personified and created by “Japanese animism” reinforce the

concepts by turning them into icons and characters.

Chapter 5: Virtual Characters

Japan has a long history of creating such characters based on “Japanese animism”, and the “virtual characters” are at the forefront of this trend.

In today's Japan, there are two “virtual characters” that cannot be ignored. The first is “Hatsune Miku”, and the second is “Virtual YouTubers”. I would like to start with a brief description of these characters.

5.1: About “Hatsune Miku”

Hatsune Miku is a voice synthesis and desktop music software and character developed and marketed by Crypton Future Media, Inc. Since its release on August 31,

2007, songs using her voice have been posted on YouTube and Nico Nico Douga. The number of songs posted on Nico Nico Douga is about 330,000. Compared to other text- to-speech software, the number of songs posted on YouTube and Nico Nico Douga is unparalleled, and she is known as a representative of “virtual singer” in Japan.

5.2: About “Virtual YouTuber”

Virtual YouTubers, also known as Vtubers, are basically “YouTubers whose appearance is not human, but illustrated or computer graphic”. Although there have 25

been people who have been using this form of video distribution for some time, it was a person named “Kizuna Ai” who started her activities in December 2016 that made the

Virtual YouTuber phenomenon more famous. When she became the first person to call herself a Virtual YouTuber and started her activities, many other characters joined her.

Even today, the number of Virtual YouTubers is increasing day by day, and in

November 2020, there were over 13,000. As of 2019, 67.0% of teens and 50.0% of people in their 20s are aware of Virtual YouTuber (KM, n.d.).

5.3: Similarities between Hatsune Miku and Virtual YouTuber

Hatsune Miku and Virtual YouTubers are two of the most popular virtual characters in Japan today, and there are some similarities between the two. First of all, they are both based on “Japanese animism”.

One of the factors that led to the success of Hatsune Miku was the “addition of characteristic”. Before Hatsune Miku born, there were many voice synthesis software applications, but none of them were as successful as Hatsune Miku. Hatsune Miku, on the other hand, has thoroughly maintained her existence as a character. To quote the profile on Hatsune Miku's official website (n.d.), 26

Hatsune Miku sings a variety of idol pop songs from the 80's to the latest, as well

as a variety of pop songs and ballad songs, and also specializes in anime songs with

her cute voice. Her voice is very charming, with a high range that soars to the

heavens, and an innocent and lovely middle and high range that is very appealing.

You will feel as if you were producing a lovely idol singer in your home studio

(CRYPTON FUTURE MEDIA, INC., para. 2).

We can see that the software itself is described as if it were a real singer. In addition to this, the package depicts a girl with long green twin-tails. By giving character to the inanimate object that is software, the company has succeeded to this extent.

Similarly, Virtual YouTubers have established their popularity by adding character to themselves. The biggest difference between “YouTuber” and “Virtual

YouTuber” is whether or not they deliver videos of themselves in the flesh. In short, they are like wearing a costume. For example, if people go to Disneyland, you will see a variety of stuffed Disney characters. Each of them entertains the visitors with their character's behavior. Virtual YouTubers are similar in nature. They are clad in illustrated or computer-generated “stuffed costume” (commonly referred to as “gawa” by Japanese fans) that give them a stronger sense of character. This “gawa” is the most attractive 27

feature and strength of the Virtual YouTuber. Some of them wear “gawa” that are the opposite of their real-life gender, and some of them even wear “gawa” as non-human beings (such as animals or demonic characters). One of the most appealing aspects of being a Virtual YouTuber is that people do not have to worry about the limitations of the real world, and many fans find this attractive.

What can be seen from the success of Hatsune Miku and Virtual YouTubers is that each of them has been given a “characterization”. To put it more simply, they have been anthropomorphized based on “Japanese animism”. Hatsune Miku is unmistakably the personification of “music software”, or more broadly, the personification of the

“musical instruments”. This can be seen from the fact that many of the creators of

Hatsune Miku (commonly referred to as VOCALOID producers by fans) and her fans treat her as if she were just a real singer. In contrast, Virtual YouTubers are the personification of individuality. In other words, they are like Yuru-Chara. Yuru-Chara are characters based on specialties, tourist spots, and other things that appeal to people.

In the same way, Virtual youtubers are appealing their own existence by turning themselves into characters and icons.

So, what are the reasons why various Vocaloid producers and video creators are using Hatsune Miku and Virtual YouTuber to post their own works and distribute their 28

videos? One answer to this question can be found in a tweet posted on Twitter by a woman named OSTER project. She is a VOCALOID producer who has been active since Hatsune Miku was first released and is said to be one of the people who sparked the Hatsune Miku boom. Recently, she has also been active as a Virtual YouTuber under the name “Tessro & Rosette”. According to her (2020), who has used both Hatsune

Miku and Virtual YouTuber,

I probably feel the same way about V (Virtual YouTubers) as I do about Miku. V is

a character, not me, but it is definitely a character, and people see me through that

filter. I feel the same way about Miku. Even though Miku's music is Miku's music,

the creator of the music is more important than most artists. I felt like people were

listening to my music through Miku (Twitter).

In other words, Hatsune Miku and Virtual YouTubers are essentially the same thing. Hatsune Miku and Virtual YouTubers are the “gawa” (called filters here), and in essence, the fans are looking at the creators behind the filters. In essence, fans are looking at the creators behind the scenes. For example, when they see a character in a costume, they are not looking at the costume but at the person inside. (Incidentally, in

Japan, the “person behind the character” is called the “insider”; this is not limited to

Virtual YouTuber, but also includes the voice actors who portray anime characters. As in 29

the example above, when a character is likened to a stuffed costume, it is called a

“insider” because it is the person who plays the role.) This is one of the peculiarities of virtual characters. Many characters in anime, video games, and other media are not strongly influenced by their insiders. This is because the character has its own personality, and the voice of the insider is treated as part of the character's personality.

Most fans do not try to peek at the insider of the character while watching anime.

However, this is not the case with virtual characters. Many fans, while looking at the virtual characters, are essentially aware of the insider behind them. This is the peculiarity of the newly acquired existence of virtual characters, which are neither

“characters” nor “charas”.

5.4: Advantages of Virtual Characters

So, what kind of impact has this singularity had on creators and fans alike?

NashimotoUi (2020), one of the VOCALOID producers, wrote on Twitter,

“VOCALOID is the best way to look at your own songs objectively. If I sing it, it is too close, and if someone else sings it, it is too far away. It is the best distance! (Twitter)”

He says this is the main reason why he uses Hatsune Miku. For example, lyrics that you might feel embarrassed to sing yourself can be sung by Hatsune Miku, and that 30

embarrassment is diminished. Many fans are aware that when they listen to Hatsune

Miku's songs, they are listening to the VOCALOID producers, the insider of Hatsune

Miku. However, this is not a direct reflection of their consciousness. Rather, we are looking at the insider through the filter of Hatsune Miku. The same is true for Virtual

YouTubers. For example, many Virtual YouTubers talk about their own failures in their videos, but this is because they are speaking through the filter of a Virtual character.

Many people would not be able to broadcast without the filter of a Virtual YouTuber.

The greatest advantage of virtual characters is that they allow creators and fans to work at the best possible distance.

5.5: Differences between Hatsune Miku and Virtual YouTubers

So far, have discussed the similarities between Hatsune Miku and Virtual

YouTubers, and the benefits that come with them. However, they cannot be considered to be exactly the same virtual characters. It is generally accepted that Hatsune Miku and her associated VOCALOID content peaked around 2010-2012. In recent years, it has gradually begun to decline, and is now known as “Owakon” (short for “finished contents”, a term used to describe content that is no longer topical, a Japanese Internet slang term used to describe content that has lost its buzz or whose boom has ended). In 31

contrast, Virtual YouTubers are at the height of their boom, and some people say that

Hatsune Miku has been replaced by Virtual YouTubers. In response to this opinion,

VOCALOID producer Neru (2020) wrote on Twitter,

I have seen people say that Hatsune Miku's failure was that she did not follow the

Vtuber movement, but that is absurd. Hatsune Miku is a culture that is invincible

because it is fictional. She is a metafictional piece of software, but at the same time,

no one cares about her isolation. Too selfish and cruel to consume, that is fine

(Twitter).

He believes that Hatsune Miku's weakness and ambiguity is her only strength.

Virtual YouTubers have one insider for each character. In contrast, there are countless

VOCALOID producers who use Hatsune Miku to create songs. Therefore, even if someone disappears, as long as someone else continues to write and post songs, Hatsune

Miku will never disappear. This “immortality” is one of the strengths of virtual characters.

5.6: Differences between Virtual YouTubers and YouTubers

In addition, there are real-world YouTubers who can be compared to virtual

YouTubers. The following is a summary of the unique advantages that virtual youtubers have.

① Protection of private life.

This is the most obvious and simple merit for them. Nowadays, it is common

for the general public to upload personal photos and videos to social media

such as Twitter or Facebook, but it is dangerous to upload such things to the

Internet originally. This is because there is a risk that the address will be

specified from the building that is shown from photos or that the photo will be

misused without our knowledge. There is also a danger of becoming caught

up in real world crimes by becoming famous on the Internet. Extreme fan

behavior can sometimes lead to crime, such as stalking or trespassing on

YouTuber. In these points, Virtual YouTubers can work with some confidence.

They do not have to show inside their room when broadcasting their videos,

so they do not have to worry about their own private life. Also, fans do not

know the face of the person behind the Virtual YouTuber, so it is difficult to 33

take extreme actions. When it comes to protecting the private life of Virtual

YouTubers, using virtual characters is a huge advantage for them.

② It is easier to say what they want to say.

When speaking something, it is easier to talk if you put a “wall” between

yourself and the other persons. The effect is even greater, especially if it is

hard things to tell the other person. The walls will change depending on the

situation and place at that time, and the relationships between them. For

example, if you want to apologize to someone else, it is often difficult to

apologize directly, but you can easily apologize using a letter or email. That is

because there is a “letter” or “email” between you and other people. I wonder

if virtual characters have the same effect. What is difficult to say with the

presence of “myself” can be more easily said by placing a “virtual character”

wall between them and the viewer. As a result, their opinions and ideas can be

smoothly transmitted to the viewer. It is thought that the virtual character also

has the role of such a wall.

③ They can show only the part that they want to show

Many virtual YouTubers have their own personality. For example, there are

various settings from simple to unusual such as high school girls, 34

chairpersons, idols, knights, and princesses. Some of them are non-human,

such as animals and angels. These personalities have an impact on viewers

and increase the appeal of each virtual YouTuber, but also hide the personality

of the human behind them. The stronger the personality of the virtual

character, the less the person behind it will show the viewer. In the first place,

voice is the only personality they show to viewers as Virtual YouTubers.

Conversely speaking, it can be said that the ideal figure that the human behind

wants to be seen by the viewer is the virtual YouTuber. At the extreme level,

viewers are showing only the parts that are convenient for Virtual YouTuber.

④ First impressions

Virtual YouTubers often use cute female or cool male models as virtual

characters. There are some strange-looking virtual YouTubers, but in any case,

those looking virtual characters give viewers a powerful and positive first

impression. In addition, the virtual characters that look like can attract a lot of

viewers' interest from the video thumbnails because they are eye-catching.

Chapter 6: The relationship between virtual characters and their fans

Next, consider the impact of virtual characters on people and society. Currently, virtual characters are appearing in the real world one after another, and their fame is gradually spreading. Why do they attract fans in the real world despite their virtual existence? One answer is that virtual characters are a perfect fit for today's Japanese society, especially for the young people who are the main target audience. Start with the example of Hatsune Miku. If she were an ordinary singer instead of a virtual singer, the only people present in this content would be the “producers” and “consumers”. In other words, there would have been a clear distinction between the people who provided the music and the fans who enjoyed it. However, the content surrounding Hatsune Miku has not made that boundary clear. With the advent of Hatsune Miku, it has become easier for even beginners to post their own songs. In addition, not only songs, but also dance, illustrations, novels, models, and many other types of content were derived from her songs, and a variety of people spontaneously began to share their own works. This movement of “creators and fans working together to boost the contents” was a perfect match for the fans whose activities are centered on modern social media services.

Through this “chain of creation”, the content of Hatsune Miku has become a strong presence. 36

Next, look at the example of virtual YouTubers. They too are making good use of social media services. Virtual YouTubers have two main areas of activity. The first is on YouTube and other video-sharing sites, where they mainly broadcast videos, basically real-time video games and chats. As the name implies, they often just chat with each other for one to three hours. In this context, they use the chat section of

YouTube to answer questions from their fans in real time. Another important place of activity is Twitter. Almost all of them have their own Twitter accounts, where they can report their activities and tweet about their daily lives relatively freely. Sometimes they even retweet secondary illustrations drawn by fans or reply to messages from fans. In this way, the distance between Virtual YouTubers and their fans has become much closer through social media services. Virtual YouTubers may seem distant to their fans, but they are actually quite close to them, and this is what makes them so popular.

On the other hand, the relationship between the virtual characters and their fans has become a problem. One of the strongest concerns is the issue of Virtual YouTubers and “Super Chat”. This is a feature that allows viewers to send money to the distributor during a live broadcast as a token of appreciation or support. When commenting using

Super Chat, the amount of money paid will be displayed, the message will be displayed for a longer time, and the background color will change, making it stand out from other 37

comments. Of course, the fact that Super Chat has been used is also communicated to the distributor, so they may thank you by name. While this is an important feature that brings distributors and viewers closer together, some argue that this relationship is unhealthy. According to a survey by Playboard (n.d.), seven of the top ten in the ranking of the total amount of Super Chats as of December 2020 were Japanese virtual

YouTubers. The number one ranked user, Kiryu Coco, has used about 140 million yen in Super Chats, followed by Uruha Rushia and Usada Pekora, who are in second and third place, respectively, with over 100 million yen in Super Chats (YouTube

PLAYBOARD). This news became a big topic on Twitter. Various replies were sent to the tweet announcing this news. Many of them commented that they did not understand and did not know what the purpose of sending the money was. Some even derogatorily referred to the fans who use Super Chat as “Kaonashi”. According to the Pixiv

Encyclopedia (n.d.), Kaonashi is

a character in the movie Spirited Away. A character with no independence, no

place to stay, who can only speak in the language of others he has found, and who

does not know how to communicate with others (especially those of the opposite

sex) except by offering money and goods. He tries to give a lot of money and goods

to Chihiro, but when she rejects him, he goes on a rampage and is eventually 38

subdued … the nature of Kaonashi (a one-sided approach to the opposite sex by a

virile male) is similar to the Super Chat culture of Vtuber otaku, and the fact that

Vtubers, unlike Chihiro, do not reject her leads to the fact that Vtuber otaku, unlike

Kaonasi, do not grow up or fail. That is the problem with Vtuber nerds, some

people pointed out (para. 3).

Of course, this is just the opinion of a few extremists, and there are many positive comments about Super Chat, such as “There is nothing wrong with paying for the people you support”, and “No one should tell other people what to spend on their hobby”. In any case, it goes without saying that virtual characters have a strong influence on the real world, even from an economic standpoint.

Why do fans pay Virtual YouTubers to use Super Chat? Originally, there was basically no need to pay for YouTube videos. Fans can watch the videos streamed for free. So why do they pay for it themselves? According to a survey and analysis by,

“Haishingi-ken”, many Japanese otaku fans “see the value in paying”. They (n.d.) explain the psychology of fans who pay money for virtual YouTubers:

Idol and anime fans tend to see value in paying money. I guess you could call it

visualization of affection. Some fans have been wearing anime Love Live! or photos

for underground idol fans. Rather than the goods or photos themselves, the value of 39

the product and the sense of satisfaction lies in the appeal that “I love it so much

that I spent so much money on it”. VTuber viewers have also inherited this culture.

I think throwing money was a good match for the tendency of idol and anime fans

to emphasize “paying money” and “being able to see how much you have paid”

(page. 3).

The combination of “Japanese animism” and Japanese unique otaku culture provided the foundation for the development of Virtual YouTubers in Japan.

Chapter 7: Virtual Characters and the Future of the Real World

Virtual characters have developed in their own unique way in Japan because many Japanese people have the idea of “Japanese animism”. What will the relationship between them and the real world be like in the future? I would like to conclude this paper with a speculation. Until now, virtual characters have been making inroads into the real world. An example of this is the collaboration between companies and virtual characters. Otsuka Pharmaceutical's product “Pocari Sweat” has collaborated with

Hatsune Miku and some Virtual YouTubers such as Mirai Akari, YuNi, and Fuji Aoi.

They have been appointed as “Pocari Sweat Ambassadors” (Otsuka-Seiyaku, n.d.).

FamilyMart has also collaborated with Niji-Sanji, the office of the Virtual YouTubers, to sell limited edition goods. Other collaborations with Virtual YouTubers have been commissioned by a number of major Japanese companies, including Docomo, Shuei- sha, Suntory, and Kawai-juku. This is proof that virtual characters are becoming more and more famous and that their presence is becoming more and more common. So, what will the future hold?

As technology continues to develop and virtual characters become more commonplace, it is the turn of real people to enter the virtual world. Evidence of this is the emergence of the “diverse Virtual YouTubers”. An example is a person named 41

“Shigure Ui”. She was originally an illustrator and made her living drawing illustrations for novel books. She was also the designer of several Virtual YouTubers. However, starting in 2019, she herself began working as a Virtual YouTuber. Her name is still

"Shigure Ui" and she continues to work as an illustrator, too. In other words, she now exists in the real world and the virtual world one by one. The number of people like this seems to be increasing. The number of people who continue to work in the real world while also being active as Virtual YouTubers is expected to increase in the future. As a result, the line between the real world and the virtual world will become more and more blurred.

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