The big 100 list – the talents you should follow

I have a list on Twitter. It was originally catered to the best of the best among seiyuu, as you will probably realise over the course of this. But now it has expanded well beyond just them, to encompass all manner of professions, to the point where it has reached its definitive milestone: 100 girls on it. So, to celebrate, I’m going to do my level best to sell them all to you. One of them will get you somehow, some way.

Mako Morino: Noted baseball lover who went on to voice a noted baseball-loving character in Yuki Himekawa. Her passion and energy in the real world matches that of her character. The first of a clutch of personalities here of the kind of vintage that CG’s greatest have now settled into.

Emiri Katou: A legend among seiyuu for having brought an array of captivating characters to life. Her remarkable vocal range and emotional depth allow her to seamlessly portray characters across various genres, from endearing heroines to enigmatic villains. She also has the luxury of voicing some of my very favourite characters of all, but make no mistake, no matter what you think of her characters, she remains a cherished presence in the industry.

Suzuko Mimori: Let it be known that we might have reached the most beautiful person on this list already. And she’s 37 years old. Suzuko Mimori has that unquantifiable golden ratio that adds up to what we call ‘it’. A timeless wonder, still going and doing her thing every now again in her biggest active role in Revue Starlight, and still putting out more than her fair share of singles, Mimo has thoroughly earnt the immense following she can call her own.

Yoshino Nanjo: Her old groupmate from mu’s has earnt her following too. But Yoshino Nanjo is pretty comfortable where she is now. Her glory days that included her star turn as fripside singer have passed now, but it can hardly be overstated how important and big a figure she was at the apex of her powers. She still chills on livestreams from time to time, as she happily whiles away her time on the love of her life, FF14. She’s earnt the right to do that, too.

Yuka Kuramochi: Technically more gamer than gravure idol these days, but she still likes to remind us every now and again. Her ability to effortlessly shift between these diverse realms showcases her versatility and multifaceted nature. Despite the evolution in her career – perhaps not least one forced by having a kid – Motchi continues to captivate audiences with her still rocking bod.

Eriko Matsui: A veteran of the Cygames sphere and a frequent presence among its franchises, Matsueri has established herself as a stalwart within the likes of iM@s and Uma Musume. Great voice, super cool on a live stage, she’s a seiyuu of the old-school style, yet still good in the classic sense of the profession.

Ruriko Aoki: Big-time gamer, and a big-time person. Literally. You don’t see many seiyuu breaking into the 170s in height. Husky of voice and sure of ability, Ruriko Aoki stands out as a solid operator. Her YouTube channel stands out as one of the most chilled-out of all, being a host to countless gaming streams of hers over the years which continue to this day.

Shizuku Honami: The cosplaying game is, unsurprisingly, exceptionally crowded. It takes special efforts to stand out among the many there, and my pick of the bunch is Shizuku Honami. Super cute outside of cosplay, gravure-quality shots to spare and notably someone with a twin sister to spice things up in her photo shoots, you’re hard pressed to find better than her.

Aya Hirano: A megastar who has been through the wringer and back out the other side of it again, few are likely to rival Aya Hirano’s history, and fewer still her profile at the peak of her career. A trailblazer in her day, for better or worse, she’s settled down into a safe haven of musicals now. Hardly an unusual path these days, even for current seiyuu.

Izumi Kitta: Literally my local seiyuu, in that she splits her time between London among other places. Another veteran of the game, Izu-sama has very much settled into enjoying the life she’s made for herself. Particularly worth a follow on Instagram for all the places she goes.

Haruka Yamazaki: There aren’t many whose dedication to her craft extends to role-playing your character in lives to as great an extent as possible. Haruka Yamazaki is one of those. Always fancy with her looks, her role as Million Live’s central character Mirai Kasuga sees her don her hairstyle at lives and quite literally look the part. And she’s definitely not shy of a further cosplay of anyone else, either. Hugely impressive and wholesome as a person.

Arisa Date: Unique among the rest of the names here for being a professional mahjong player. So that’s a reasonable chunk of fans cornered. She’s also been designated picture taker for a number of iM@s lives. Which, on a personal level, allowed me to witness their seiyuu first-hand and consequently influenced me into finding out more about them. Which resulted in a list such as this in the first place. So I’ve got her to thank for that.

Chiaki Takahashi: Seiyuu, singer, and gravure idol extraordinaire, even well into her 40s. With the fortune to be voicing someone as good as Azusa Miura, Chiaking has proven her ability to breathe life into diverse characters, captivating audiences with her remarkable voice acting skills. She’s done an awful lot over the years, up to and including being in seiyuu groups. Well ahead of the curve on the gravure side too, obviously. No seiyuu to this day may have touched her on that side, in fact.

Anri Sugihara: The OG gravure idol to end them all, simple as. So good was Anri Sugihara’s work in its day that it still stands up even now. In fact, even she can still stand up to the best of them now. She still rolls back the years on occasion to remind us all of just what she can do. A benchmark-setter of her time, so many have tried to match her, and so many have failed.

Noriko Shibasaki: Best known as the voice of one of the great onee-chans of our time, Chiyuki Kuwayama, Noriko stands out by being another sort who comes across quite unlike anyone else around. Soft looks coupled to an especially dazzling smile do the trick. Her first photobook was simply excellent, too.

Shiki Aoki: There’s absolutely no one here more distinctive than Shiki Aoki. And that goes way beyond a set of deep vocals. Indeed, Shiki openly identifies as a transgender man. That’s a huge deal given Japan is relatively behind the curve on attitudes towards it and means we have a relative one-of-a-kind on our hands here. Quality gaming and fashion content on a popular YouTube channel makes for a worthy seiyuu, even aside from the inspiration and authenticity that resonates with so many.

Mikoi Sasaki: The old guard in the best group YouTube channel among seiyuu, Team Y, Mikoi Sasaki is an alumni of such formative series as Milky Holmes. Her spot as the group’s oldest leans right into her highly mature vibe, and gives her just the appeal you’d want. Quite apart from her being another typically talented and versatile voice actress.

Pile: A legend at her peak who has taken her unqualified success as a seiyuu and singer and now pours it into the bars, clubs and restaurants of Roppongi (notwithstanding the occasional mu’s orchestra appearance). But in playing such a vital role in turning Maki Nishikino into perhaps the most beloved fictional idol ever seen, Pile has earnt her keeps.

Atsumi Tanezaki: Highly acclaimed to the point of being awarded recently for her work in the big-time role of Anya out of Spy x Family, earning her a well-deserved reputation as a standout performer in the industry. With her remarkable vocal range and emotive delivery, she brings depth and authenticity to every character she portrays. Yet despite her rise, she remains a more low-key figure relative to several other big names. That might suit some, though.

Haruna Momono: Some deserve better than what they get, and Haruna Momono is one of those. Mind you, at least she has one of the better halves of D4DJ by being in Rondo, and in voicing someone like Hiiro Yano. The character she plays matches up to who she is very well. The mature aesthetic between both of them is her strongest asset.

Miinyan (aka Rio): Amateur cosplayers and ‘online’ gravure idols can still be well worth your time, provided you find ones who mean well and don’t push their content too far. Of course, they can still be successful in their own little way, and Miinyan stands out as one of those. She hits the kind of marks and vibes that you don’t get from the pros (and, it must be noted, all for free). Especially if you like tights.

Naomi Majima: There are some gravure idols out there whose presence is such that you just can’t miss them. Naomi Majima is very much one of those. She dominates just about any scene she walks into, and comes packed with a body straight out of many’s dreams. Nobody ‘gets’ the appeal a gravure idol can carry off quite like she does, between things like her expressions in her photoshoots to the underlying flirtiness of it all. A hearty smile within it all completes the complete package.

Emi Kurita: The other way you can really stand out among your gravure idol peers is looking like no one else around. And that’s what Emi Kurita does. One of the softest-looking faces around, coupled to a popping bod, gives you the recipe for someone very special indeed. Just don’t look too closely at her AI pics, no matter how hard she’s pushing it. Can someone just show this girl Stable Diffusion?

Ru Ting: The voice of the one-time Cinderella Girl Syuko Shiomi. Damn good she is, too. She’s also half-Chinese, a noted figure in the oft-overlooked Tokyo 7th Sisters and in the unusual half-space of being criminally underrated for roles while still simultaneously having the clout to hang with some pretty big names.

Makoto Koichi: Somewhat of a late bloomer as it goes with seiyuu, it was landing a role in iM@s that launched Makoto Koichi into the sort of respectable career many in the profession would take. That she pulls off someone as boyish yet simultaneously youthful as Haru Yuuki speaks to a solid range all round.

Mai Fuchigami: Another talented voice actress of the old school, not that she looks it even as she turns 37 next month. Plenty of prominent characters to her name, having graced both Precure and iM@s. And her prominence in live performances got her to the point where a solo career became feasible.

Ami Maeshima: Remember how Ami Maeshima was gone? She’s now back. The outpouring of affection that met this news shows you just how good she was, and still should be. Though we await the product of her return as she continues getting back into the swing of things, her endearing personality remains fully intact. Some of the best of her first act is lost in the ether now, but her second act should be just as tantalising.

Carin Isobe: If anyone deigns to define Carin Isobe by her plastic surgery, let them be known they are wrong. She is a brilliant seiyuu. Sparky of voice and with beauty to spare, she’s earnt her rising profile. Plus she dropped one of the most drop-dead gorgeous gravure photobooks any seiyuu has ever done, and had the general fandom gasping at it. She can catch you so easy, and you should relish in it.

Sayaka Tomaru: We haven’t dwelt on a live actress yet, and Sayaka Tomaru is the first. She’s been quite involved in it actually, and remains so, and with it comes subsequent extended jobs as a result. Not least of which her comprehensive gravure work, in which she hits all the marks. And when new gravure comes out for her, it tends to come in droves. All the better.

Moe Toyota: The power of a good seiyuu unit can be seen in just how it has shaped Moe Toyota, first with the immensely popular Stylips and then carrying on with her partner-in-crime Miku Ito as Pyxis. While Mikku may take the plaudits as an undeniably attractive proposition, I reckon Moeshi is better. She has a notably more distinct look, her deeper voice will be right up many people’s street and her plentiful gravure over the years has always been straight out of the top drawer. And her impending PB might be the best yet.

Ayasa Ito: It’s hard to know where to start with all the different kinds of appeal Ayasa Ito channels. From her story of becoming a keyboard player entirely from scratch for Bandori, to the little imperfections in her personality that put her above even the relentlessly smoothed-out Aimi among her Team Y peers, to the assets that give her suitability for gravure, Ayasa has so much to unpack from her little body.

Teru Ikuta: And her long-running best mate isn’t half bad either. Teru Ikuta rocks one of the best boyish looks of them all, and such was her talent she even broke her way into the Idolmaster chain – after her breakout success in Revue! Those two roles, by themselves, have sustained one hell of a seiyuu. Impressive stuff.

Mariko Nagai: If nothing else, those behind the constant search for Idolmaster’s seiyuu know how to pick someone to match a character in likeness. Mariko Nagai is a strong example of that with her character, Juri Saijo. This despite flaws in her looks that she has, to her eternal credit, embraced. They don’t make her look any less sweet. Also a noted GT-R fan.

Nozomi Yamamoto: There’s a vibe to Nozomi Yamamoto that you just don’t get with others around here. Think the vibes of the family member who goes along with the kids in a gathering even when they’re at risk of embarrassing you. Perhaps that’s why she’s leant herself so well to accompanying the constant stream of newbies Cinderella Girls has. She’s a wonderful personality.

Mea Shimotsuki: Another gamer in the mould of Yuka Kuramochi, to the point where they often collaborate together. But Mea’s quite different when it comes to her gravure, or at least the vibe of it. Indeed, her gal image might be something of a throwback in the modern age but she spices it up with a more modern vibe nicely. Oh, and she is a proper cosplayer extraordinaire. Couple that to a brakes-off demeanour and you have yourself a real little devil.

Saki Yamakita: Iris’ oldest member, and therefore a fitting talent to be its leader. That maturity carries itself over to her vibe within the group, as its most sisterly member, yet she is more than capable of joining in with the chaos her members can generate, and indeed even channelling it such that she becomes its prime dealer.

Himika Akaneya: Iris’s center, and unquestionably its biggest livewire. This quality has granted her quite possibly the single greatest YouTube channel of any seiyuu in history. Behind this though is one serious style icon, who has been through tons of good looks and who can pull off countless different vibes like no other. This is quite something to say of someone who fronts a series as prominent as Pripara, but she may be as underrated a seiyuu as there is out there.

Yuki Wakai: The affectionate term bandied around for someone this short is often ‘gremlin’, but have you ever seen a gremlin as sweet as this? Yuki Wakai fits the mould very well, mind. What with that scrunched-up face she does and all. But within her is one of the most immense voices of all here, enough to best everyone else here in a karaoke contest, I reckon. A low-key sweetheart.

Yu Serizawa: No one’s appeal is quite as versatile in Iris as Seriko’s. Perhaps this comes from some of the contradictions of those appeals, like her height contrasting with her high voice and her managing to come across as super cute and yet as onee-chanly as any seiyuu yet seen. She’s covered every piece of the jigsaw that these talents go for, and has been notably excellent in all of them. Simply superb.

Miyu Kubota: Yet it’s Miyutan who has turned into Iris’ biggest name, and not unreasonably. She carries the broadest appeal, the sort that landed her a spot in Love Live as its most mature character of all. Right up there in the absolute beauty stakes, the fact that she balances herself between level-headed and chaotic only helps her case.

Momoyo Koyama: There’s plenty to commend with Moyo, between one of the wider smiles among seiyuu, a warm, wide pair of eyes, a soothing voice and her proud place as a member of Soundorion. Has one good PB to her name, and deserves more credit for someone who is the face of a series as successful as Revue Starlight.

Tsunko: A wild child of a talent, with wilder looks, who has tried just about everything over the sun. In the end, the talents of Tsunko’s have stuck have been her cosplaying, plus her DJing, which got her a spot on D4DJ, and among the talents in that series she is clearly its biggest exponent of gravure. She even held her own within the all-conquering PPE agency until not so long ago. Another one of those who you simply can’t take your eyes off.

Yuri Noguchi: Voice actor of the notably thick-chested Shizuku Oikawa and the notably thick-thighed Reisalin Stout, it seems as though Yuri Noguchi doesn’t do small roles. Yet she routinely goes under the radar as seiyuu goes these days, though not so much that she isn’t present in Uma Musume either. But there’s plenty to enjoy with her if you go looking for it.

Lynn: Now for someone a little different. Specifically, a half-American. Wide eyes like Lynn’s are always going to, well, catch the eye, and hers are no exception. Couple that to the star turn she gained from being one of the most invested of the many seiyuu in Uma Musume, plus one high quality photobook, and you have a typically classy modern-day talent…who just happens to be a little atypical, too.

Natsumi Hirajima: You’ll notice a conspicuous absence from this list: any idols from a big-name group. That’s usually because there’s altogether too many of them. The girls those groups leave behind can be interesting, though. Not least ex-AKB member Natsumi Hirajima, who goes beyond the popping bod she has often flaunted in her role as Rika Seto of D4DJ by having a vested interest in motorbikes, to add appeal to those who might otherwise see her as just another one of ‘those’.

Nashiko Momotsuki: A Swiss Army knife of a talent, Nashiko shines in so many aspects and respects. She’s much celebrated for her tokusatsu work, her frequent hosting of shows – some of which lean into her gloriously deep interest in Pokemon – and, of course, her simply first-class gravure, which serves as a benchmark for just about every ‘mature’ approach to photoshoots. Everything about her is just right.

Hinata Sato: It’s hard to know where to start with someone whose talent has stretched her into as many series as Hinata Sato has got into. From her supreme voice, to her undoubted skill on stage, to her plenty hilarious personality, to her very much distinct looks, there’s something for everyone to love in Hiichan. Still only 25, she feels like having been around for ages – because, of course, she has. She started early, after all. Which no doubt helps explain the abundant talent within.

Ayaka Ohashi: Her breakout character, when asking her greatest quality, was told “her smile”. If life imitates art, Ayaka Ohashi might do it better than anyone else. For all the tangible and obvious appeals some can hold, sometimes it’s the intangible you can’t explain and spend your life trying to explain that matter. For Hasshi, it’s simple: an undeniable case of ‘infectious happiness’. Sweetness personified.

Ayano Sumida: Talking of mature gravure idols, few carry off the air of it better than Ayano Sumida. Her classically beautiful look shows the positives behind a simple and basic approach like hers. No frills, no spills, just natural allure. She’s as close to the aforementioned Anri Sugihara as anyone can come these days, and praise can hardly come higher than that.

Yasuyo Saito: Another case of ‘infectious happiness’ lies within here, and sure enough Yasuyo Saito’s mile-wide smile would probably be enough to win her many fans by itself. The fact it’s also attached to a glorious body with legs long enough to put anyone else’s to shame borders on overkill. She’s only really started ramping her activity up lately this year, but next year… Every other gravure idol around had better watch out.

Enako: For all the relative avoidance I try to feign of the most mainstream talents, sometimes you just can’t ignore those at the top of the pile. Enako is surely the creme de la creme of her corner of the industry, plastering magazines on a near-weekly basis and still churning out a limitless supply of cosplays. She carries all the graces of someone who knows she’s at the top of the game, and quite frankly, the millions upon millions of followers she has aren’t wrong in the slightest.

Yura Yura: Boil the essence of an idol down to their constituent parts and you would probably end up with someone like Yura Yura. Sweetness on top, naughtiness underneath that lends itself to gravure perfectly, a slight air of mystery about some of her personality that adds a bit of extra spice, and – from innumerable sources – the level of possessiveness all idols love to carry off. And as a bonus, an undeniable love of Kuromi. If you need a gateway to idols in general, you’d be hard-pressed to find better than Yura.

Azusa Tadokoro: There’s so much to love behind the shy, unassuming yet sweet exterior of Azusa Tadokoro. Not least of which is her deep and powerful voice, which has resulted in some of the best solo songs among all seiyuu. Her more timid personality always gets put into situations that bring great hilarity, too. It helps that she voices some top, top characters as well. Her three from the big series she features in – Milllion Live, Bang Dream and Uma Musume – all feature among my very favourites from them.

Haruka Chisuga: A somewhat mystical figure, in that despite not earning great popularity herself, she has oftentimes rubbed shoulders with some of the best of the best. Perhaps that’s why her talents are often sold short. She’s got a voice with plenty of gravitas and has for a long time carried the classic short-haired charm that defines so many with that style.

Jun Amaki: Another fixture of the mainstream, and it’s not hard to see why. Jun Amaki’s look is perhaps the definitive standard for the conventional Japanese look, and it’s testament to how good it is that you can notice it over her clear and obvious assets. She knows what she’s got – and some. Almost no one leans into them harder than she does. Such is her stature in gravure circles that she may have played more than a hand in influencing her former colleague and friend from her idol days…

Kisumi Amau: Every idol has their stories to tell. But Kisumi Amau’s one is unique. The way she’s been going for over a decade, fighting through physical and mental ailments all the way (and to this day) is testament to the sheer talent that has seen her become possibly the single most popular chika idol today. Her devilish wit and charms will make you come, but the candid and frank personality within will make you stay.

Rikako Aida: There’s always room for one genuine beaut in a Love Live group. For Mimo and mu’s, read Rikako Aida and Aqours. She has routinely been capable of dropping jaws all round with her looks – and sometimes with her actions as well, to be honest. And the great thing is, she’s gotten herself back in the gravure game. Many from Love Live are trying their hand at it, but Rikako leaves most of them far, far behind.

Komari Nakamoto: Idol groups are hardly short of their infectious smiles, but Komari Nakamoto’s spreads easier than most. Her look is hardly a million miles away from some others – even in totally different industries – but it’s just so good. A young rising idol par excellence, more success together with the rest of her superb group Mooove! is surely only just around the corner.

Hazuki Tanda: If an idol escaped and made it as a seiyuu instead, this is about what you’d get. Hazuki Tanda might not look as dissimilar as she seems, but she knows how to get the crowds purring. All this while keeping her teasing within the kind of limits that some people prefer to stay within. I can totally see the appeal.

Maki Kawase: A super cool seiyuu, with the exact sort of personality you’d expect from such a figure and, most importantly, with a voice packing serious gravitas behind it. It’s quite a surprise it took so long for Maki Kawase to come on the map, to be honest, and even now she remains somewhat unsung.

Sayaka Kitahara: Could this be an inclination towards a character swaying things too much here? In this case, no. Sayaka Kitahara really can do the business as Mei Izumi live, as part of the wild ride that is Straylight. They are a real see-it-to-believe-it case. In another success story for iM@s matching up its seiyuu to its character, Sayaka also stands out by packing a surprising amount of beauty to her, in the kind of way you might struggle to resist if you’re in the mood.

Azumi Waki: Now we’re talking about a seiyuu who has really made it into the big leagues. Azumi Waki is what you get when you simply put in hard, and constant work. She has to her name some exceptional roles, capping it off with her place as the center of the all-conquering Uma Musume. Chill and calm as a personality, she’s a blueprint for many others to follow.

Liyuu: Sweetness and innocence can be quite an intangible factor, and so it is with Liyuu. But she has both in huge spades. It’s this which has leant her so well to Love Live, and the live stage, quite apart from the cosplaying with which she made her name. Add to this quite possibly the best solo work of any seiyuu when it comes to music, and you have a true modern classic among her peers.

Arisa Komiya: I’m listing many different seiyuu here, but for sheer levels of attraction few can rival Arisa Komiya. Packing one of the most diverse bodies of work – between tokusatsu work, a spot in a group as prominent as Aqours, DJing and some simply excellent gravure shoots – Arisha goes well above and beyond the seiyuu norm. Even without her distinctive and enticing look, that’s enough to sell her by itself.

Ralumu Fujikawa: No one can ruffle feathers quite like Ralumu Fujikawa, in more ways than one. Her thoroughly unique looks, coupled to her extraordinarily leggy frame, are one thing. The way she uses them to go against the grain on Japan’s social matters is quite another. And she’s not afraid to fight back on them. There’s rarely a dull moment when she pops up. If you go and follow her, strap yourselves in for some chaos.

Machico: Definitely one of the most colourful among seiyuu, both character and appearance-wise, Machico is for the style-conscious ones. But that’s not to dismiss her vocal talents, not least in her breakout role as Tsubasa Ibuki which remains still her finest. Her live performances as her remain spectacular, and as a central figure for Uma Musume she continues to prove that point further still.

Maaya Uchida: Quite simply an elite talent. Maaya Uchida’s roll call of roles, earnt by her immense range and devastatingly powerful vocals, puts just about all others here to shame. So much so that her solo singles have brought her genuine mainstream success. There’s even some unqualified successes in gravure in there if you look back far enough. She has done the lot. 

Aya Suzaki: For those who might find themselves lost in the echo of the huge fandoms the big names build, but still want a seiyuu with plenty of street cred, Aya Suzaki is a happy compromise. She’s landed more than her fair share of great roles over her long and illustrious career, and with her most chaotic days behind her she now serves as a very cosy presence among the great and the good of her peers.

Meruda Ikeda: Right now, the best ex-idol going. Focus not on how Meruda Ikeda was left hanging relative to her – admittedly excellent – fellow Babababambi members. Worry not about the stigma behind being a hafuu – Indonesian in this case – which she has spoken of before as going against her. Someone out there should recognise her unquestionably vivid personality and her simply superb looks, and get her to where she ought to be.

Naomi Payton: Another half-American, and one who went from hopeful young idol to all-new Love Live actress with one audition. No small jump, yet Naomi Payton handled it to perfection. Taking on board the overbearing character of Sumire Heanna, she pulled it off wonderfully. A charmer with all the energy to match, and who is taking her style to interesting places outside of Liella.

Sumire Uesaka: For sheer, raw talent and appeal, Sumire Uesaka might just be untouchable. In the elite cadre of vocalists, she has quite simply done it all. All kinds of music, the sort that runs through her frankly quite unhinged head. And no one can lure in fans quite like she can. Perhaps the most universally admired of all the true mega-stars.

Nichika Omori: An occasional presence among some pretty big names, just quietly going about her business in the background. But you shouldn’t sleep on Nichika Omori. For someone whose look is almost permanently on shuffle, she rarely ever misses on looking good. And she is in some quality series as well, enough to whet the appetite.

Hikaru Tono: I haven’t really talked about big-time dancing ability with anyone here, but I feel it really does need stressing with Hikaru Tono. For Bushiroad’s many flaws, they know how to find specialists like Tonopii. Some of the dance clips she was putting up in response to her growing following have to be seen to be believed. No wonder she attracted attention from further afield, including the all-powerful Uma Musume.

Yurika Kubo: Another seasoned veteran of the mu’s era for Love Live – and one who is still going strong, relative to her peers. Shikaco has always stood out as perhaps the cutest of them, both in appearance and voice, and as one of the members of the group who partook in gravure historically hers can reasonably be considered the best. Plenty to ponder with her, then.

Hina Suguta: A rising star, not least by falling into a big role that attracted considerable attention at the time in Marin. It was also an award-winning performance for her, in the event. But her role in Bang Dream, coupled with her sweet and dreamy smile, meant she was already a known quantity to those who’d seen her before. Her steady rise since is just reward for her efforts.

Otono Sakurai: This is not your cookie-cutter gravure idol. Well, aside from the body, but you could have guessed that going in. No, what gives Otono Sakurai such appeal is the demeanour she carries is a breath of fresh air to the gravure standard. And the great thing is she’s developing all the time, trying new expressions to add to her already incredible repertoire. A rising prospect you should catch some day, and already one of the coolest gravure idols around.

Iori Io: There’s nothing so unusual about Iori Io, though, quite apart from the sheer level of swagger she carries about her. Sharp eyes like hers make her gravure routinely something fierce and give her an energy that belies her frame. She leans into in fully every single time and makes her the tallest-looking person ever to be short. Deeply impressive.

Umi Shinonome: If you’re gonna go for someone mainstream, this is the pick of the lot. With a body that looks and seems almost heaven-sent, Umi Shinonome is gonna get you looking one day. She rocks glasses like no one else and comes with the aura of sheer confidence that a person with her assets warrants. She even comes packed with a suitably geeky interest in the form of Gundams, in case some people needed more attracting to her. There’s always room for others’ tastes as their favourites, but few would deny that Umi is one of, if not the, outright best.

Minami Natsu: You probably know Asobisystem and, by extension, their idol agency Kawaiilab through Fruits Zipper, who made it big time with their Tiktok hit わたしの一番かわいいところ. But for a calmer experience, their newer group Candy Tune is where it’s at. And they also have an idol with some standout looks in Minami Natsu. Wide-eyed looks are ten-a-penny in idoldom, but when they’re this wide, you just have to sit up and take notice. When you can pull it off, so much the better.

Yui Otoi: Here was the best ex-idol going for a moment…but not for long. Yui Otoi was much too good to stay out of the game for too long, being cute as a button with the added bonus of being bilingual, and in joining  the same Kawaiilab agency as the above-mentioned Minami after her graduation from notall earlier in the year, her future prospects laid clear, Sure enough, she’s in the all new SWEET STEADY group, meaning she shall once again shine as brightly as she always has done among idols.

Shu Uchida: From out of the depths of Australia has come one of the most glamorous performers going today. Shu Uchida stands as simply a very wholesome presence to have around, and the effort she goes to in accommodating her considerable overseas fanbase outdoes just about everyone else. Truly a worthy little superstar.

Akari Kito: Perhaps the defining talent of her era, Akari Kito has hit absolutely every mark that matters. Her voice is truly something special, standing out from a competitive crowd. The result? An embarrassment of riches when it comes to roles, prominent or otherwise. An elite cadre of series she can cite on her roll call, among them some of the most celebrated characters of all time. The love for her from all corners is genuine, and totally deserved.

Mico, the aunt: I’d never admit to being a fitness freak, but I have space for those who are here. Especially if if helps them look good well into their 40s. Sure enough, Mico, trainer at a seriously popular fitness club in Kyoto, proves the benefits of this by having as good a body as she does.

Kyoka, the niece: But for the youthful ones, you’ve also got her niece, Kyoka Yamashita. She’s more tilted towards her entire legs, and how. As she reminds you every day of the week, they are immense from pretty much any angle she cares to shoot them at. Add her too to the counter of those who look like no one else I’ve seen. 

Karin Yukino: When you first see Karin’s age, you’ll think “Is that a typo?” No, it is not. Behold the youngest-looking 35-year-old you’ll ever see. If you catch her on a stream, she’s the youngest-sounding 35-year-old you’ll ever hear, too. Not that this diminishes how beautiful she really is, of course. For what it’s worth, she’s the only one whose age we know in her own group. She’s not afraid to admit it, and nor should she be.

Yuzuki Watase: Cute and round, talented and still young, worthy of more opportunities, yet being within the Bushiroad sphere they’ll be hard to come by. But she is getting more to think about, being a part of Ave Mujica now on top of her excellent role in Lyrical Lily, where her cuteness makes her its most fitting member of all. Ought to be recognised by other series out there.

Kotoko Sasaki: I talked about mainstream group’s biggest contributions being those it leaves behind, and here’s another case for that viewpoint. Kotoko Sasaki came out of Nogizaka and into Love Live for its Hasunosora project, and is proving to be the best of a rapidly rising bunch. An elegant and powerful figure, complimenting her groupmates, she’s great to behold live. Finally, her Twitter feed is most ideal for cat lovers, because she eats one good meal of food every day. It is delicious.

Nako Misaki: For someone who her groupmates in Liella have forever classified as the most motherly, Nako can also prove to be the most emotional from time to time. She might have more determination than any other in Liella, and can measure up to the rest of them on sheer cuteness and humour. Another simply essential piece of what started out as, and still is, one of the most magical puzzles.

Nakane Nanoka: There’s always room for someone who just has a little bit of everything, and Nakane Nanoka is worthy of being that girl. Lovely, conventional looks, allied to another infectious smile, topped off with a beautiful, natural chest gives her more than enough appeal for most. One who goes under the radar often, and unreasonably so. She’s well worth a look.

Nagisa Aoyama: When Mimo packs it in sooner or later – and it might not be too far away – Nagisa Aoyama is picking up her mantle as the fairest, most beautiful of them all. I don’t say this out of sheer personal belief, either. Whisper her name to those around and watch the words of admiration tumble out. Possibly in the wrong order, so captivating is Nagi’s natural charm. And now her big-time photobook’s come out…hoo boy, can you see just what a sight to behold she is.

Sayuri Date: From one simple audition to super-stardom, Sayuri Date’s rise from such a young age has been glorious. Within this pint-sized powerhouse packs one of the most magnificent voices we have yet seen. There’s something almost chuckle-worthy in how she has to hold it back sometimes. Expressive and seamless looks complete the picture. Much beloved, and for so many good reasons. 

Hana Okamoto: I talked about Yasuyo Saito earlier, but I haven’t touched on her running mate yet, Hana Okamoto. Improbably, she’s even taller (just about). But her outward appearance is a more classically appealing look, simple, soft sweetness allied to a genuinely top-notch body. If you fall for Hana, you will fall for her hard.

Konan Koyoi: Am I slightly ashamed having an AV actress on this? Yes. Do I care really? No. So here’s Konan Koyoi. You can tell she’s taking more than a fair share of influence from one of the industry’s former crown jewels in Yua Mikami, but Konan has her beat. Will the void be filled? Across AV, there’s a lot of potential going around for that to happen. Konan ought to do it.

Blamagi Tanaka: One more fitness freak for you. This one, though, is more akin to the sorts you find at the oft-celebrated muscle girl cafes. Blamagi’s got enough about her all round though to make her well worth your while. Just make sure you find the rest of her appeal over those thighs of hers. They’re quite a sight.

Aya Emori: Liella is stacked with talent, but this is its biggest rising star of all. The scale of Aya Emori’s improvement in the back end of this year has been astonishing, growing into a look that has a little bit of everything, and she’s now delving into the photobook stakes too, and dipping straight into the saucy end as well. Yet another staggeringly brilliant find from this group, one who is only set to make them even more elite.

Yuria Sato: Quite possibly the best seiyuu you have never heard of. As a key exponent of one of Revue’s lone bright spots these days, even among such lovely talents as Hina Aoki, Kanon Matsuzawa, Ruka Fukagawa and Kokoro Kuge, Yuria Sato is the pick of the series’ newest members, on grounds of the sheer combination of sweetness and beauty. Deserves a proper break-out somewhere, some day.

Minami Tsuda: Funnily enough for someone often known to voice huskier girls, Minami Tsuda’s best roles are probably more regularly-pitched ones. That speaks to a great range for someone who’s thrived off it for years and years. One of the bigger success stories from the CG wave, yet still perhaps one of the less heralded ones.

Ranran Fujii: Oh no, it’s another AV actress. One who gives a real insight into the degrees of popularity in the industry. Ranran feels reasonably low down her agency’s pecking order, for all her considerable proportions, yet still has follower counts that would make many talents here blanch. Is she gonna be up your street too in this respect? …Only you can decide.

Moe Nishimura: There are chika idols, and then there are chika idols. And when starting from the bottom of the barrel, it isn’t like shooting fish in that barrel. Instead, you have to fish way outside it. God knows what possessed Moe Nishimura to fish for me. But she did. She actually liked some tweets of mine, and I feel obliged to reward her for her fishing expedition. Here you go, Moe. Have my interest, for a bit. 

Mayuka Rami: There was no such inauthenticity for this one, though. She only started doing photoshoots a couple of months ago, but Mayuka Rami has just…got something. No one identifies a photogenic quite like 01familia, and even with a number of trainees coming on song – and joining their idol groups – the fact Mayuka caught my notice so early on can only be a good thing. Helps that, just like who we started with, she’s a baseball lover (and Swallows fan). Could she be the find of this year? Ask me this time next year.

Are some seiyuu horny deep down?

I’m ashamed to admit I’ve genuinely had a post with this title sitting as a draft. How long for? You don’t want to know. I might have posted here about some of them undergoing the kind of casual fishing that you need a bit of underlying naughtiness to really go through with, a point which has in fact become more pertinent as their photobooks edge closer to full-on gravure as the competition for the world’s eyeballs becomes ever more fierce. I would have talked about how the mask of innocence occasionally slips and you see in the public eye actual notifications for genuinely lewd things. But what it took for me to finally answer the question was one single tweet, one which left me in no doubt of the answer. Indeed, it meant that I could sum up the very title of “Are some seiyuu horny deep down?” in one simple word:

Yes.

The live to end all lives… But can I make it there? – Musings #15

Remember how I told you I was targeting visiting a Liella live in September? I was reckoning without CG announcing a live happening on the very same weekend in Nagoya.

I was only going to be able to do the Saturday, as I had the 6 Hours of Fuji bookmarked for the Sunday. So bookmarked that I have my ticket for it waiting on the other side at my local Lawson (that’d be Haneda Terminal 3). Luckily, Hasshi chose the Saturday to be available. And who else is available but Iidashi, aka Kanade Hayami, aka my favourite character ever. So, sorry Liyuu, sorry Nagi. There’s no way I was passing that up. And I’ve seen you three times this year already. I’ll make it up to you…possibly. More on that in a bit.

My ticket is bought and paid for, thanks to my new idol interests expanding my conbini cartel a little bit further. All I have to do is a) leave my luggage at the hotel, because I more than likely can’t check in before having to go to Nagoya, b) get to Nagoya, c) get the last Shinkansen (or earlier) back to Tokyo and d) actually check in to get probably less than 5 hours of shut-eye before I have to head to Fuji. How hard can it be?

At least I’ll have a good week or so to come down from the inevitable high of finally, finally seeing the one person who started this all in the flesh. Unless my (gravure) idol oshis arrange something midweek in the meantime. Which they probably will. Or unless there’s an important birthday like there was last time I went to Japan.

Oh. In the event, there’s nothing concrete event-wise arranged for her birthday itself. Aside from the release of her PB. Which…

Raise the alarm. She’s showing some skin. Still, I’ll be in the right place to pick it up right away.

If nothing’s arranged later in the week, I’ve been tossing up the possibility of a short trip to a different bit of the Far East. I’m thinking Seoul for this one… But I have to be back on Sunday, for another race, this one a Super GT race – yet another bucket list activity ticked off – in Sugo. My ticket for that one’s sitting and waiting to be picked up too from my local 7-Eleven (that’d be Haneda Terminal 3. Again). There’s a lot of options open. But they might soon become closed.

And then I get to do it all over again in November, when I definitely will be seeing my idol oshi(s), and then Hasshi all over again in Popipa getup. In between then, I might consider another trip out. The other place I’ve been eyeing up is Vietnam. One day in each of Saigon, Da Nang and Hanoi. If I can take low-cost carriers, I can do it for surprisingly little money. And of course I’ll still have a free weekend to play with afterwards (pending events cropping up, and the Motegi Super GT finale on November 5 looks very tempting). And I’m supposed to have at least one day after that… Then came an announcement on Friday.

If I hadn’t seen it, I wouldn’t have believed it. A full-on, official, Love Live x iM@s collab live is happening. And this is no small matter. Because, for the occasion, they’ve hired out The Big One. They are doing this at the Tokyo Dome.

The scale beggars belief. Every one of their franchises, sans the oldest in 765Pro and mu’s, are showing up. That means every modern Love Live seiyuu. And a whole clutch from iM@s across the two days, with entirely different casts for both days. No one knows quite what to expect otherwise, except chaos. As an unapologetic fan of both, this is the dream for me.

But there’s a problem. First of all, the holidays I’ve already taken, on top of the two aforementioned ones, have taken out all my annual leave. Fortunately, I can reschedule my return flight in November, take leave out of that holiday and move it over to the December this is happening in. Except my workplace will be in the midst of a project so massive they have actively blocked us from taking leave in the week leading up to this live. What that means is attending day 1 will be impossible. Unless I get a new job in the meantime. Which may not be beyond the realms of possibility, to be fair.

Fortune has shone down on me in this respect, though, as once again the very day Hasshi is attending is indeed day 2. The kicker is that Iidashi is doing day 1 instead, so no Kanade for me that time. Indeed, Lipps is down to attend day 1, sans Mika. The fact Ruru’s missing makes me slightly less sad about missing out on that, with her being one of my other favourites (along with Minami, whose seiyuu won’t be here either).

It’s not like I can do a whole lot on the character side of things. But then it’s not the characters I’m seeing here, it’s only the seiyuu. If I were taking the top 5 sexiest characters, it would be, in no particular order: Kanade, Minami, Mika, Mei and Chiyuki. Unless you add in the Love Live girls as well. In which case Eli and Maki could get in there. You could argue the case for Dia and, to a certain extent, Riko as well, but a) I’m probably just equating that to their seiyuu and b) my pride couldn’t take admitting an Aqours girl in there. Ultimately, only Mei’s seiyuu, Sayaka Kitahara, is gonna be there on the day.

But what makes me not regret it at all is the fact that, thanks to Love Live’s presence, I am faced with the prospect of seeing my top five seiyuu, all at once, at the same live. That, more than anything, has pushed me to go for this. Even on a weekender so preposterous I’ll spend about 26 hours on the ground in Tokyo and over 28 hours in the air. But if there were any event I would pull a weekender for, it is this one. Still, at least the non-stop flight I need is surprisingly cheap, relatively speaking…for now.

Of course, I still have to actually get the ticket. Which is where the biggest issue of all lies. I’m not gonna be alone in chasing a spot for this. Tokyo Dome is quite a big place, so it might not be as big a sweat as it seems. But, to be frank, if I don’t get the day 2 ticket I’m looking for, I’m not gonna bust my balls to get one otherwise. The whole idea of going is so off the cuff for me that I’m willing to take it like a man and leave it be if I don’t win. Unless, that is, someone very kindly offers me one. Then I’d be tempted. My top five seiyuu… How much would I really give to see them all at once, I wonder.

Let me break them down again, if I must. I’ve spent a lot of time these past few years doing so, but again, I must stress the importance of such a possibility to you. There’s Ayaka Ohashi, the very person who willed me to start out with any of this and motivated me such that I could patiently wait 3 years for the opportunity. There’s Nagisa Aoyama, who spearheaded my move to get back into Love Live and her running mate Liyuu, who validated it and opened my eyes to the joys of the best of the work done by voice actresses outside their voice acting. That has helped Rikako Aida emerge in a similar manner, and though she’s only just clinging onto oshi status there is nobody I can see who will take her out of the top 5. There’s certainly no one overhauling her partner in crime Arisa Komiya though, because… Hoo boy, we need to talk about Arisa Komiya for a bit.

As you can probably tell, she has done more than her fair share of gravure. And what a share of gravure it is. Her frame is right in the sweet spot of height for this sort of thing, she’s got the vibe for it and, most importantly, she has a face that looks like no one else around. (Or does it? Hold that thought.) That, more than anything, might help her case most of all. Too many idols, both gravure and not, are ultimately let down by their looks not bringing enough to the table. Not to say they look bad, merely they don’t look good enough. A good body can come from anywhere. It takes something special to couple it to a truly good look. Uniqueness can do the trick, and Arisha has it in those wide eyes of hers.

You think she looks good from the front? You should see how she looks from the back.

This warrants another slideshow by itself, honest.

I have hinted at this in the past, but only in passing. That’s because, quite simply, there is not enough time in the world to talk about the magnificence of this booty. Everything, from the curvature to the size – especially relative to the rest of her bod – to the crease that tops off the bottom, is perfect. I make this guarantee: you could scour the rest of the world and not find anything better. Even in the world’s hotspots for this sort of thing. Brazil. The Balkans (trust me, I have extensive experience on that one). Instagram. The Kardashian’s household. If you can find me a better derriere than Arisha’s, do please get in touch. Because either I can prove you wrong…or I’ll salute you to kingdom come.

There’s just one small problem with all this. She doesn’t do gravure any more. Has this diminished her in my eyes? Honestly? Not even slightly.

Fuck it, have another slideshow.

(That last picture shows some chekis that’re currently being offered up on a competition tweet by Bis. What I’d give for that third one, especially…)

She does still do some photo work for Bis, but it’s more fashionable than anything. Boy, do they bring out the best in her, though. They have Nashiko signed up, too… If the day comes where they appear in a shoot together, it’s town.

I suspect the reason I don’t mind her not doing so much gravure anymore is because her backlog is so extensive that I keep finding new things she’s done in the past every day. And knowing what she did in the past enhances her status in the here and now. Mainly because, when I see her appearing ordinarily, I know what lies beneath. And that’s why, eventually, I fell for her like this. Because she’s got something the vast majority of seiyuu keep to themselves: sex appeal. That’s why I can call myself an oshi of hers now.

…Sorry, I might’ve got a little carried away there. What was I talking about again?

Oh yes, a live. On the actual live side of things, opinions have been all over the place. There’s been much comment on how the two fandoms can possibly co-exist in such a space, given the differences in culture and how they treat things like calls, UOs and more. And that’s notwithstanding one side having to listen to the other’s music. Hell, that might even be a problem within their own fanbase, as there’s a reasonable chance some will only be interested in one side of their preferred franchise. I, for one, won’t be recognising any Million Live, Shinymas or even U149 songs (for the entire cast of its successful anime shall be there on day 2, too). As for Love Live, there’s a minimal chance of me recognising most Aqours, Nijigasaki and maybe even some Liella songs. And that isn’t even accounting for Hasunosora, who I haven’t touched on even slightly. Perhaps I should.

Basically, what I’m saying is I’m pretty much screwed. Which is probably why I’m non-plussed about just how good the live really is. And anyway, as I might have mentioned, my top 5 seiyuu are there. So what’s trying to guess what to do with your penlights in the middle of a song anyway.

And there is some debate as to just how the live really will go, depending on who takes the lead. iM@s is known for its quality of lives more than Love Live, but it’s most likely that production will be split half-and-half between them, because…well, it is a battle, after all. Collabs of some description are guaranteed, but quite what they’ll entail is a total stab in the dark. Those who frequent lives feel the whole thing may fall flat. But as someone who cannot frequent lives, I’ll take what I can get. The question is: can I get this in the first place?


If you have thought to look up a real idol at any stage, gravure or otherwise, you may well have found them being spoken about by a certain Nao Kanzaki. In fact, he manages a post a day on various different girls. His motivation is something I would wish upon a star for.

A good majority of the posts, though, are taken up by idols from the big leagues. Your AKBs, your Sakurazakas, your HKTs of this world and so on. I have no interest in these groups, nor do I have any real intention of looking into them. (Pin that for the future so I look like a mug when I do inevitably get into them.) But he does branch out into voice actresses, like Nagi-chan, whose most recent PB got a post – damn good it is too – and solo gravure idols, including those from 01familia. Hell, his post today happened to be on Mio Minato*, and on the whole their presence has been made none too clear than with frequent posts on Nashiko Momotsuki this year. Her most recent cover provoked him into action again after a month’s wait. Can you believe that? We had to go a whole month without Nashiko on the cover of a magazine. How did I survive?

*He chose that post to mention he was taking a day off and had no posts backed up and ready to go. So much for everything I just said in the previous paragraph.

He does all this in a sociable and tasteful manner, as it should be. It’d certainly be more sociable and tasteful than I’d manage if I were trying this on a daily basis. I’d probably end up with a post trying to decide which gravure idol’s got the most perfect tits. Right now, I have several different girls at #1 in that respect. Nashiko, Kisumi Amau, Iori Io, Jun Amaki, Nakane Nanoka (someone who I happened to come across on my Twitter dashboard this week)… There’s probably even more I could think of, but I’m just rattling off who comes to mind. Now, I know they all have different sizes, which is why I don’t think the size itself counts. It’s more about the shape, and how that couples with the actual size. It’s like the golden ratio. If you have it, I’m standing up and taking notice.

Sorry, did I digress a bit there? Well, what did you expect. I did just dedicate an exceptional amount of this post to a single girl’s arse, after all.

Anyway, the point is that this has opened my eyes to the odd idol here and there, but the more common source I have of discovering an idol remains finding them being recommended to me through either my Twitter dashboard or my Kindle suggestions immediately upon buying someone who I know’s PB. This weekend, it was Naomi Majima’s which led me down a rabbit hole into several other PBs of the latest gravy idol I discovered.

This is Sayaka Tomaru, and I actually thought at first that she wasn’t anything special. As is the case with most of the idols I come across these days. And yet…something was drawing her to me. Something intangible. It was her general vibe, really. It felt like the sort of vibe that so many other girls who are right up my street carried too. So I sampled some PBs of hers, and ended up buying a few.

Then it started to dawn on me. The thing with Sayaka is, a lot of her features add up to make her like the greatest hits of many of my favourite girls. Time and again I’d see different pictures of her and see someone different there. You had bits of Meruda Ikeda, bits of Himika Akaneya, bits of Ayano Sumida. I showed her to one group of people and they, like me, saw similar vibes to Nashiko. That’s not the only similarity they share, either.

 

Veiny boobs! Admittedly, this looks to be the exception rather than the norm for Sayaka, as opposed to Nashiko where they are consistently visible. But they’re there all the same.

Most of all though, I got vibes like Arisa Komiya. The supposedly unique looking Arisa Komiya. Serves me right. But it is a vital comparison, because, as we’ve already established, she no longer does gravure. It’s not a skin-deep match up, obviously. Sayaka’s emphasis is at the frontend, while Arisha does her best work at the backend. But there’s no mistaking their wide-eyed faces. That might be the vibe that got me most of all, actually. That, coupled with a sense of maturity – a common theme among many of my favourites. Yes, I know Kisumin is my #1 and she doesn’t match that description, but she can certainly do maturity when asked – a point you’ll notice in her most recent PB announcement.

But there’s one more point to be made on Sayaka and Arisha. Because, astonishingly, their likeness to each other may not be a coincidence.

 

Yes, that’s right. They really have crossed paths before. And there’s Himi as well! I salute whoever was responsible for this movie’s casting.

Crucially, though, there are instances in Sayaka’s PBs where she does distance herself from others enough to carve out her own distinctive appearance. That’s the clincher – that she can indeed just be herself, and not just like others, good though they may be.

So, there you have it. A post (or half of one) where I have successfully shilled for a gravure idol. If you’re reading this, Nao, whaddya think of her?

Oh, never mind. He’s way ahead of me on that one.

Where the hell have you been?

Hello. It’s just gone past my 26th birthday at the time of publishing this. It’s also been close to 5 months since I’ve written anything here. That was an end-of-year blogpost hoping things would be looking up this year. Have they been? So far…no. But that might be about to change soon. Hence me finally coming out of the woodwork to say something here. The reasoning? A whole mixture of work, relationships, and more than my fair share of soul-searching. Now, as I enter the relative peak of my powers (in my head), I’ve decided to stop feeling sorry for myself. It helps that a lot of built up tension has cleared of late and should stay out of the way for a while yet. And now I’m gonna set out and do things I want to, again.

Yes, I know I’ve been to Japan. I know you were expecting me to write something about Japan. I’m sorry. I haven’t written much of anything about Japan. And it was four months ago now so giving the full story, given stuff that’s developed in the meantime, would be too big a time sink now. That said, I do finally have concrete time periods on what should become my next two trips to Japan. One is early-mid September (in which I expect to attend Liella’s next live in Tokyo, plus a race at Fuji and Sugo on top) and then a late Oct-early Nov trip (when Hashtag Night 8 and a Popipa live is happening). So it’s probably a fitting time at least to try and give an abridged version of the whole wonderful charade. Here’s just some of what happened to me on my first trip to the promised land:

  • Saw three Liella lives. The main reason for my being there, the first was at Chiba where I got a pretty front-row seat, in a venue whose arrangement was as flat as a pancake. My views for Sapporo and Osaka, by contrast, were very much upper-tier. Obviously, the first time was a rush. And it was a joy to take in the other times as well, especially Osaka, that being my last full day there and it being the closest-to-full venue. I saw Liyuu cry when they gave her a birthday surprise, and saw Liyuu make the second-gen cry when she dropped a pretty sudden question upon us. Of course, no performance was ever going to be more highly charged than their Saitama one, in which they finally got calls thrust upon them just in time for the end of their tour. The sheer emotion pouring out of the group then was cast-iron proof that keeping the faith in them during the wobbly period between their five and nine-girl phase was justified. They are adorable beyond words. Next time I see them, in Tokyo, they will of course have Yuina, plus A. N. Other, in place, with the promise of sub-units to look forward to. Sadly I’ll be missing the one based around Liyuu and Nagi’s unit, which seems like a grave error on my part, but that’s just the way the timing’s worked out for me. And the venue’s in a solid location, being the one they went to after I left. There’s no doubting my commitment to them now.
  • Had an espresso to finish a meal…at 10pm. That was on the 9th, which was a Monday but also a national holiday in which I spent the afternoon in Yokohama (because Arisha and Liyuu were there, even if I wasn’t going to either of their events). While I knew the significance of the holiday in question – celebrating those reaching adulthood – it took a while for the penny to drop on why so many girls had glowed up and were in kimonos. Yeah, they were the 20-year-olds, as it turned out. Anyway, as I tuned in to Liyuu’s birthday live from a stream – it was mostly talking, which made me somewhat glad I didn’t try to get in myself – I drifted off for a while, which would prove to be the only sleep I would get until about 6am. This was not jetlag; I slept just fine in the wake of the Chiba live. This was me deciding a solid meal after that live should be finished off with an espresso. Not the smartest decision I’ll ever make. The trade-off was that in staying up the entire night, I got dates nailed down for the entire second week of my trip coming out of Osaka, in which I knew where I wanted to go but not when. Not least my longest-haul trip to Nagano, which took up a complete Tuesday but which proved to be as big a highlight as I’d hoped. I’m still waiting for the prayer I made in the temple I visited there to come true, mind.
  • Found myself looking at my phone’s home screen in person. The place was Shinjuku, which went down as my favourite place of the lot. Fight me. It was already a ball of fun to take in during the day, but heading back in the night was something special. And as I found myself looking directly at the same Hotel Gracery most prominent in my then-home-screen, with all the same buildings around, that was the moment at which I said to myself, “Yes! I’ve made it!” As a first-time trip there was always going to be a large degree of sightseeing. That was my favourite sight to see. I don’t care how cliched it may be to say it – Shinjuku is the real deal. Your Ginzas, your Akibas, your Shibuyas and your Roppongis of this world may be nice, but Shinjuku didn’t disappoint one bit. Maybe it being my last day in Tokyo gave it more prominence, but I doubt it would have been any less immense either way.
  • Came closer than I’d like to not getting back to my hotel in Sapporo. Having gotten to Haneda too early for it to be open for my early flight to Sapporo on Friday the 13th, I then nearly proceed to get back to New Chitose too late to get to the in-airport hotel in which I’d booked myself into (on account of the flight I was catching to Fukuoka the very next day). Somehow this didn’t dawn on me until not long before the Liella live began at all, which made it all the more nervy when they slightly overran their finish time. Given that I needed food as well before heading back, it was touch and go, to the point where I was having to get limited expresses. And there was an extra moment of tension when the very line I was travelling down suffered disruption, courtesy of a train hitting a deer. Mercifully it only affected the opposite direction to where I was headed, meaning I made it back in to the soon-closing airport before I could get kept out of the accomodation I had very specifically booked to give me an optimum connection the next day. So sorry Corey, Honk, Boosta and the rest who were there too, that’s why you didn’t see me afterwards. But that’s what happens when you have another set of idol groups to worry about.
  • Ran into a much bigger live than the one I was attending in Fukuoka. Touching down in the south-west, I was met with an odd sight: a considerable amount of late-teen/early-twenties girls around the airport. This made faffing around the place hectic, especially when the 7-Eleven I wanted to visit to pick up my Liella Osaka ticket was on the entirely opposite side of arrivals. The metro felt inexplicably rammed, even for a weekend when people could conceivably be travelling. Then the train got to Hakata and it became full to the brim. Not a great place to be when you have a full-fat suitcase with you. I was drowning in girls, but not in a good way. As I scrambled out at Tenjin to get to my hotel, not long before I got there the penny dropped: there must be something going on at the city’s considerable dome. The check-in desk at the hotel confirmed my suspicions. Quite apart from its own general busy-ness, a leaflet on the desk detailed what was going on: I had chosen to drop in at the same time as a huge concert from Hey! Say! JUMP. That all but explained the audience for the most arduous section of the trip so far. Not that they were any of my concern once I got to Hashtag Night. It was a rush to watch the live music from the three groups, and I did plenty of staring at Kisumi and Meruda throughout. But I hadn’t prepped for talks with them, so I backed out before those. That would come the next day.
  • Got the biggest stroke of luck you’ll ever see from an idol-concert-goer. Arriving at Kumamoto and making my way to Bambi’s live, I didn’t make all that much of the rather loudly-dressed, black-and-yellow-jacketed bloke opposite me, on the tram into the city centre. This was an intimate little venue I was off to, after all, so I didn’t fancy my chances of seeing someone also heading their way. Beforehand I’d been faffing about how the hell I was going to speak to my oshis within the group. Kisumin was of course the main concern, but Meruda would be good practice to start with: minimal queue, affable sort, also a hafuu. So I took in the live, then started sweating on how to actually get in place the tickets I needed for some 2 shots with Meruda. Predictably, I fucked up. It took me long enough to work out where her queue was to start with, though there was a guy who seemed to realise the spot I was in and seemed keen to assure me. When I never got any wind of where the tickets for my shots with the idol came, my assumption became that I bought them right before talking to her. Big mistake. But when it turned out I didn’t actually have what I needed, the aforementioned guy behind gave me two of his, and who should it be but…the very same guy, in his black-and-yellow-jacket, who was opposite me on the tram. I got my 30 seconds with Meruda, which went as fine as they possibly could in that moment, but after that I had to set out and find the guy who had saved my bacon. We could just about cross each-other’s own language barriers, so I thanked him profusely and then tried to ask him how I could go about doing it properly for 2i2. As it turned out, he had a clutch of tickets to use for his own oshi, who was…Kisumi Amau. Had this man been sent from another dimension? To back me up in a situation where I was alone, and otherwise on my own? I didn’t dwell on it. I showed him my money for 3 tickets of my own, and set off to get some lunch in the break between the lives, wondering what the hell just happened. I’d gone to an idol live by my lonesome and got away with it in the most unimaginable way. So I went into the 2i2 live fully fired up, certainly helped by having a ticket that got me into the second row (in a standing-only venue), which put me right next to one of the speakers but also got me as close to Kisumin as I could have imagined. Until the talk, of course. Sliding myself right into the middle of her considerable queue, I came across not just my new best mate, whose English had markedly improved in the previous couple of hours (because, by his admission, he’d had a few drinks in the time between) but even another guy who very casually asked after me about the English TL account for Kisumi’s tweets. Needless to say, 01 fans are incredibly friendly souls. And I’d only met so many of them, given the small scale of the Kumamoto venue. Kisumin herself was exactly as you’d expect. She read me like a book, asked if I got into her for the oppai, and promptly called me a pervert. In her own wonderful fashion, of course. I duly called her ‘yabai’ as I liaised with my guy afterwards, which got chuckles of agreement from much of the rest of the line. And with that, it was over. Under the circumstances, my first full-on idol live could not have gone any better. Everything worked out in the end, and I should have more friends alongside me for my next scheduled visit – and possibly even a visit I make before then. It’s not out of the question I see them midweek during my September trip, after all. But if you’re that yellow-jacketed guy who got me out of a hole, and you’re reading this, I can’t thank you enough. And I’d better meet you again. Possibly to have a drink.
  • Had my first idol 2-shot…with an idol who’s graduating imminently. This is the rather depressing little coda to all of this. Meruda will forever go down as the first idol I took pics with…but she won’t be with Bambi for much longer. She’s graduating, as of this post going up, tomorrow. It’s a terrible shame it’s gone this way for her. She had been trying all she could do get herself the kind of lines her fellow groupmates commanded, but it didn’t happen. It’s also worth noting she’s the first idol I properly noticed to ultimately lead me to this spot in the first place. For that reason, I sincerely hope this isn’t the last I ever see of her. Going with her is also Akane Yoshizawa, who if anything might have been my second favourite member of Bambi. Her reasons for graduating are more acutely health-related, though. So I’m looking for a new #2 (among the singing idols; 01’s standard talents are a different kettle of fish, and possibly for another time), and a new Bambi oshi. With the dawn of their fourth group, Mooove, I’ve found the former. Komari Nakamoto took up the mantle as soon as I realised she had one of the greatest smiles anyone will ever have. So I’ll probably be talking to her at some stage, then. I’m not sure about the new favourite from Bambi, though. They are getting new members to replace the outgoing ones, but right now…I fancy Mio Minato. She’s got her hair just right at the moment.
  • Found the hardest station to navigate in the country. The secret transport geek within me was always going to be very keen to see just what lay in store in some of the most infamous stations around. Shinjuku was the most obvious candidate, in all its ~200 exit glory. And you know what…it barely phased me at all. It felt like a cinch. Nowhere in Tokyo felt too daunting, in fact. The first station that really caught me out ended up being Sapporo, in fact. The walk between the JR and metro is monstrous, with an entire complex in-between. It was this that nearly caught me out in the middle of that scramble back to the airport, losing myself in the grid that makes up the mall between the two. So that wasn’t pleasant. But it was nothing compared to what awaited me in Osaka. Messing around on my first day, trying to find somewhere for dinner, I made the mistake of trying to look for somewhere in Umeda…while getting out at Higashi-Umeda…in the late-midst of the rush hour. That was the first time my bearings well and truly went to hell in a handcart. And getting out was no easier, as I found myself running through an entire damn shopping mall, just to find an entirely different station within the hot mess of subways within there. When I mentioned this to a group, they quite humorously agreed with me that they too had never managed to end up where they wanted to in Umeda. So that was reassuring, at least. I would traipse through the nonsense more times, but ironically the connection that I used most was by far the friendliest. From Kita-Shinchi through to the JR Osaka station, it is pretty much as dead straight as it gets. It’s a bit of a trek, but that is far, far more preferable to having to navigate your way through a maze to get to another station. The only other time I had to use something different was on the day I left, and I’ll get to that.
  • Found three genuinely top-notch food places. Two of them were soba spots, one sitting quite casually in Nagano station, but who did a quality prawn dish. The other was halfway between my hotel and Umeda. Guess where I was heading to it from…during the rush hour, again. No wonder I was about 7 minutes later than I thought I’d be. But it was simple, yet effective and delicious soba there. The real deal. The last one was a teppanyaki bistro on Friday in Osaka, who welcomed me more receptively than anywhere else. Even the couple next to me engaged me in conversation, where I outlined my trip to them to that point. Highlight there was finishing up with a frankly magnificent okonomiyaki, Osaka style. And they even went and left me with a picture of my visit there. It’s the little touches like that which matter. Osaka is very much its own entity compared to what had come before, and while it took a while to warm to it, when I did I embraced it.
  • Accidentally went into an attraction at USJ without really meaning to. The Saturday of the Liella live started with me going to the early buppan, a nice benefit of staying within walking distance of Osaka Castle. After getting my shirt and blade not long before they ran out, I had the rather audacious idea of making a short trip to USJ before the live – on a Saturday, no less. Though short notice, I pulled it off without a real hitch, notwithstanding that I obviously wasn’t going to get into something like the ticketed Super Nintendo World. The Mario merch was enough, but with the lunch spot I had in mind working off a queuing system I had time to kill. I spotted the Water World attraction, but didn’t fully clock that as I was walking into it that it came in the form of a live show. And not long after I went in, it started. So, I guess I did that without really meaning to. It was quite a dramatic show, to be fair, only slightly affected by my table becoming available barely minutes before it started and me having to wonder for the remainder of the show if I’d be able to make it back in time. I did, luckily. As it turned out, the next show wasn’t due for another hour and a half there, so I lucked in on my timing there. But after grabbing my Mario merch, plus a strawberry shortcake on top, there wasn’t much time for anything else there. Still, the vibes were good. As expected at a theme park as highly-rated as USJ.
  • Ended up £1,600 out of pocket thanks to a recurring nightmare of mine. After the Liella live in Osaka, and a meal with those who were there, I had to make my way back to my hotel not long after. I did have a Shinkansen to catch back to Tokyo to start making my way back home, after all. When I left for my hotel, my flight back into Europe (though not London) was scheduled to be an hour late. But for my connecting flight, that would be fine. It wouldn’t stay that way for long. Not long after getting back to my hotel, packing my bag and settling down for just a little bit before prepping for the long trip back, it was proudly announced that my flight back would be 11 hours late. Realising the gravity of the situation, Lufthansa decided to move me to a connecting flight arriving at London by 8am on Monday…which was an hour after I needed to be back at work. Cue me staying up until 3am discussing what the hell to do, finding an alternative, speculating that they wouldn’t be able to rebook me on it, and knowing that if I didn’t catch the (direct) flight I found, I was screwed. So I put my money where my issue was and forked out £1,600 to make sure I had a seat on it. All this while trying to get on the phone to ANA – who the booking was with – without success, wondering what on earth would be the situation with any kind of refund. In the end, I decided the best course of action was to get to Haneda and ask there. And then it was 40 minutes after I’d initially wanted to wake up and I had a slim chance of catching the Hikari I’d reserved to get me to Shinagawa. After the fastest shower in history, Google Maps claimed it was possible to get to Shin-Osaka in time…except it wanted me to go to Higashi-Umeda, and make the 7 minute walk to JR Osaka, to catch a train that left…5 minutes after I arrived there. I ran like hell through the complex to try and get there – with a loaded and huge suitcase, no less – just in time to see the train Maps suggested leaving. So I missed my Shinkansen. Not that it mattered massively at this point, given I was flying on a plane leaving later than the one I had booked was meant to leave. I just wanted as much time as I could get at Haneda to talk to ANA or Lufthansa. As it turned out, when I did get there the two decided to try and bounce me between each other. Nice. Lufthansa’s plight was a bit more understandable, given that all the passengers actually flying with them were sitting at the check-in desk, presumably wondering what the hell they’d do for the next 11 hours. In the event, they did have a helpful soul who informed she could indeed rebook me onto the BA flight I needed to catch. Great, but my £1,600 spend had now been for nothing. Explaining the situation to BA at the opposite end of Haneda, they fixed things up and suggested I might be able to get that £1,600 refunded. As you can probably guess, it has not come through. I suspect the fact it was on a debit card might have screwed me over there. But the fact I had to fumble around for a suitable location to send in all the details of what had gone on didn’t help either way. At the time, I didn’t really care though. Because in the end, after 26(!) hours on the go, from the hotel in Osaka to my home in London, working off 2.5 hours of sleep (plus whatever I managed on the plane, which wasn’t much), I ended up back where I needed to be. And it was all Lufthansa’s fault. This is not my first rodeo with German transport. I came within a minute of being stuck in Cologne once after my train ended up 30 minutes late, when I had a 32 minute connection time. Then my trip last summer in Germany saw just about every single one of the ICEs I used running late, again to the point of making connections incredibly tight, or stopped short of the destination I actually needed to get them to. And then this whole debacle with Lufthansa. To think the Germans are known for reliability… My arse. Needless to say, Lufthansa have had multiple major misfortunes since then, and I have laughed uproariously at all of them. I shall not be troubling their services ever again.

So yeah, that’s the major stuff covered. Again, it’s now all about my two trips in the autumn for my next dose of all that’s good about seiyuu and idols…including, perhaps, finally actually seeing the one who started it all. It will have been four years in the making, if I do see Hasshi in November.

But that’s a way off, for now. In the here and now, there will be more coming to this blog. And it’s stuff this blog won’t have seen before… I’m going to try and take this in a new little direction, a more general and broad-reaching one. There might even be a little surprise in store coming out of this blog soon… You’ll see what I mean when it happens, I guess. You can look forward to that, in the meantime. You shouldn’t have too long to wait, hopefully… Not if my current mood, my current goals and my current mindset have anything to do with it, anyway.

And do you feel scared? I do ♪ But I won’t stop and falter ♪ And if we threw it all away ♪ Things can only get better

With the world opening up by the end of 2021, I had high hopes for 2022. Having been taught a valuable lesson not to hang back and waste time sitting around, to get out and do what you want as soon as you can, I was determined to do just that and kick on, to make up for the two years lost to a once-in-a-generation event. There was a genuine sense that 2022 would go down as a great year for me.

It did not. For all the highlights that came about this year, far more dominant in my mind is the sense of people I knew and loved disappearing from my life, a future still laid with uncertainty, a plentiful sense of still having to wait for my time and missing opportunities, and above all else, getting used to constant failure.

Failure is the primary feeling I’ve had to put up with on a personal level. Whether it be right in the midst of my own life to my hobbies, all have been summed up by the common theme of failure. Let’s sum things up in sections, as is my wont. Some of these won’t be terribly relevant to this blog’s usual output, so I’ll point out the bits and pieces that you may well want to skip if they don’t particularly interest you. That’d be sport, then.

***SPORTING BIT COMMENCES HERE***

NFL: Awful. It’s all very well your team being crap when they’re expected to be crap, but for them to be crap when you expected them to go for the Super Bowl, it doesn’t get much worse than that. Such is the plight of fans of the year’s most embarrassing team, the Denver Broncos.

When the Russell Wilson trade happened, we thought we’d cracked it. Sadly we weren’t accounting for a) his skillset vanishing into thin air and b) our new head coach, Nathaniel Hackett, being miles out of his depth. It’s not certain whether these two things are mutually exclusive. We might get to find out though, as Hackett was given the axe that was coming at the end of the year after the Broncos made themselves a national humiliation on Christmas Day, throwing the towel in against that other woeful disappointment, the Rams. What makes this all the more excruciating is that the defense has been legitimately top-tier, only to find their efforts wasted by one of the most drab offenses in living memory. Injuries have taken their toll on both sides, but it’s doubtful none of this wouldn’t have happened without them. Still, at least Russ has a massive contract we gave him before he ever took a snap… Sob.

At least they had the decency to win when I saw them live. For the fourth quarter of that game I almost thought I was supporting an actual football team for a bit. They promptly lost the next five in a row. The playoff drought continues. And since the team got good in 1975 or so, they have doubled the number of losing seasons they’ve had since their last playoff visit – which, of course, was when they last won the Super Bowl. What we’d give for a team approaching that level right now…

The season in general has been entertaining, though, for all manner of reasons. Wild games everywhere, teams going completely against expectations and some legendary plays and gaffs have made for a season where the parity of the league has been on full show. Anything could happen in both conferences and there is no conclusive favourite at the moment. So if you’re a neutral, you’re in for a treat.

Football: If my NFL team has hit a new low, it’s still nothing compared to what Manchester United have been through. I happened to watch a game live they won too, back in February, before the bottom completely fell out. When it did, the spectacle was ugly. The entire playing squad looked thoroughly sunk, without a care in the world for the job they were hired to do, the spectacle of the Glazers’ continued mismanagement sinking in and the spectacle of their attempted cover-up in Cristiano Ronaldo all-consuming. Even as Erik ten Hag came in, the rebuild required was clear and obvious, and made no easier by Ronaldo kicking off and trying to get a move that no one would dare make.

The subsequent 4-0 loss to Brentford at the start of the season made it feel as though the season would be nothing more than a start to the repair job. Then United turned Liverpool over 2-1 and the switch flipped in an instant. The vibes have been positive at large ever since, despite attempts from the outside to ruin them. Of course, this primarily related to Ronaldo, whose crusade culminated in his now-infamous Piers Morgan interview that saw the club tear up his contract, from where he can now sit and live out what ability he thinks he has left in Saudi Arabia.

The way ten Hag handled him was exemplary, and he has laid down his marker as a true authority, something lacking in the club’s management for years. And there’s real life about the team on the pitch again, particularly through the summer signings. Lisandro Martinez has galvanised the defence, especially in replacing Harry Maguire, and Casemiro, who could so easily have gone the way of so many big-name, heavily-contracted signings over the years, has been a revelation. Antony has cooled off after his hot start, but the potential is undeniable, and Christian Eriksen has played his part too. With this has come the revitalisation of the already established squad. Tyrell Malacia’s arrival kicked Luke Shaw back into action, Diogo Dalot’s establishment in the first team has proven to do much the same to Aaron Wan-Bissaka, and Bruno Fernandes is back to his lovable best again. Marcus Rashford’s revival has been the most spectacular, though. He was wretched for much of 2021-22, but this season he’s looking like the player we all fell for from his first game. His form spilled into the World Cup as well and he’s showing no signs of letting up. Even getting dropped for oversleeping and missing a meeting hasn’t stopped him.

The title is out of reach for this year, as the Man City/Erling Haaland juggernaut comes under threat from Arsenal, of all teams, this year. But 3rd place is a realistic goal. If Newcastle cools off from their “shocking” (as shocking as a Saudi-funded run can be, anyway) run, we should be a shoo-in for it. All this adds up to the most genuine promise seen since the prime days of Solskjaer at least, only this time, this might end in something tangible as well. Especially as the damned Glazers are thinking of selling up at last… Here’s hoping they’re not just putting words into our mouth this time.

The World Cup, meanwhile, was a wild ride. As a man who had both his nations in the race, I was always going to be invested, and neither side disappointed. England could hold their heads high after losing in a straight fight to a team as capable as France, while Croatia reached highs to match even their 2018 run this time. There were many drinks had after the Brazil win, I can tell you that for sure. Enough to end up in as bad a state I’ve been in for about three years. I’m proud to call myself half-Croatian, that’s for sure. There were treats for the neutral, too, between various bouts of madness in the group stage, Morocco’s madcap run and, of course, that utterly insane final. Were it not for the obvious and overwhelming spectre of Qatar looming over the whole shebang, I’d be calling this the best tournament I’ve witnessed. As is, I’m not going to put that tag on anything, really. With 48 teams going to the next World Cup, though, it’ll be hard for any one of the future events to match this for on-pitch spectacle.

Motorsport: It’s an uneasy time for motorsport, both in terms of its present and future. F1, predictably, continued the downward spiral that was really kicked into action with the events at the end of last year, and this year didn’t even get a worthy title fight to spice it up, as Ferrari’s early promise gave way to continued incompetence and being outgunned by Red Bull. That left the rest of the mess around it to take prominence, between the continued nonsense of its governance and the toxic atmosphere its fanbase has picked up, which was not helped by the relative downfall of Mercedes. MotoGP’s concerns, on the other hand, laid firmly in terms of its future. The peak of competitiveness it has achieved over the past couple of years produced another belting season of racing, and I even witnessed back-to-back races myself in Germany and the Netherlands. However, the departure of Suzuki and the series’ dip into the folly of sprint races for next year, coupled with dwindling ticket sales on the whole (though not at the events I went to, which both attracted crowds of 100,000+) mean that its apex has now officially passed. World Superbike produced on sheer spectacle, but it remained reliant on three riders primarily and even the battle between them turned one-sided eventually. Nothing else was able to fill the void especially this season, with WRC being dominated in a way it hasn’t been in a while and the world’s prime touring car championship completely collapsing at the seams. This meant a lot of my interest in the wider world of motorsport rested on what would be coming in the future. One category next year, though, is going to come up trumps.

It is, of course, the much awaited arrival in WEC and IMSA of LMDh, coupled with a new entry from no less a marque than Ferrari in the former. With five manufacturers slated for the former and four for the latter, a new golden age of endurance racing is set to begin, with more to come in 2024, especially for the WEC, as BMW, Alpine and Lamborghini all arrive. We are in for an absolute treat, and we got something of a preview with Monza this year, which was the series’ best race for several years. As for me, I’ve got myself a ticket to Le Mans in 2023. I could hardly have picked a better year to break my duck there…except of course, 2024 might prove even more tantalising. Especially as GT3 arrives there to diversify the GT field to a level not seen since the GTE peak of 2018-19. This should warm us up for what we’re in for, for what should hopefully be years to come… And I’ll get to witness some of it first hand. I cannot wait.

***SPORTING BIT ENDS HERE***

Anime/seiyuu/idols/other Japanophile things: This was a bit of a mixed bag overall, as my seiyuu interests finally settled by and large, prompting a venture into another side of the Japanoverse. But the most crucial thing of all is that I failed to actually go there, yet again. Of course, it was a question of when, not if, it would open this year but so long did it take that by the time the October date came round, I had used up all my days off. This, though, shall be immediately redressed next year as I’ve taken the first possible opportunity to get out there by booking myself in for a visit there from the 7th January all the way up to the 22nd. And the two things spurring this decision on are the two central groups of people in my interests this year.

First of these is Liella, whose Chiba live I have a ticket prepped for on the 8th. It is they who shall go down as finally ending my three-year wait to witness a live in person, and they have proven themselves more than worthy. They have separated themselves as the sole anime idol group for me to truly keep up with, primarily courtesy of my two outstanding individuals of the year.

I clocked Nagisa Aoyama last year as having the potential to go right to the very top of my estimations, and this she did. She remains utterly unblemished, simply the most beautiful in the business. I was right to look to this budding gang of five for the hottest new seiyuu on the block, the next seiyuu to truly inspire me. As it turned out, though, I was looking at the wrong bit of it.

The perfection of Nagi may have grabbed me from the start, but it was the imperfections of my favourite that brought out the most genuine love of all. That accolade rested with Liyuu. The announcement of her PB and the initial previews of it are what initially flipped the switch, but there was so much more to Li-chan than that, from her music to her return to cosplaying to her emotion to her sheer, unbridled cuteness. The pair of them were almost inseparable for much of the year, but Liyuu ultimately inspired truer affection from me than any other seiyuu this year. That’s why she’s my new number 2 (behind the permanent #1, Ayaka Ohashi, who regrettably shall be the only thing missing from my trip. When a CG live comes round, though…) And now I get to see her in person. If only I could have got in for her birthday live as well…

Liella itself, though, had to fight through some real turbulence. Quite apart from various absences, enforced by the odd continual Covid infection or, most brutally, a car accident that took Liyuu out for a full month, there was most notably in the heavily debated move from a 5 to 9 girl group. Much as I, and others, believe the move was an error, in reality things have turned out fine. It did perhaps make the 2D aspect rather shakier, with the 2nd season being divisive, but the new seiyuu have blended in nicely, not least of all Wakana Ookuma, who has proven herself to be another gem. Crucially, the youthful exuberance of the group has remained intact and this, probably more than anything, has prevented the move from being questioned further. However, the group looks set to expand yet again, with one character set up to be added and auditions being made for another to join the crew. It remains to be seen if they can get away with such a move a second time, and indeed just how far they will go in this pursuit.

Other series, though, found themselves in dire straits. Most soberingly of all was the fate of D4DJ, which lost two seiyuu this year, including my clear favourite, Ami Maeshima. And she’s not just left D4DJ. She’s probably left the entertainment industry as a whole.

This news was not a shock. Before this announcement, she had been absent without any real explanation for three whole months. When it came out, the feeling was mostly of relief that something had been said. Her replacement as Ibuki Niijima was an excellent pick: Kanon Nanaki is someone I’d known for a while and she fits the profile of her character supremely well.

And yet… For someone who played such a crucial role in getting me further into events in general, I felt strangely unemotional about Amita’s departure. Almost certainly, this was down to others stepping up to fill in the void she’d left over the entire three-month period. And nothing was more responsible for this than an agency sitting in some office space in an unassuming building in Shinjuku.

This is 01familia, and they are my biggest find of the year. The primary source of this was their trio of idol groups. I’d knew of one of them some time before this, that being babababambi. But it really kicked off when I discovered, by proxy, their sister group 2i2, and specifically my own new idol oshi, Kisumi Amau.

Quite apart from the obvious benefit of being someone who posts gravure of themselves anything up to 12 hours at a time, a move that has earnt Kisumin a skyrocketing following (of which I was one of just a couple hundred thousand), her vibe and proportions can be summed up as an anime idol, made real. Or, as someone else eloquently suggested, someone who’s turned all the sliders up on her character customisation. She also carries the same emotional appeal and levels of sympathy as Liyuu, which has kept my love of her well and truly alive and should do so for years to come.

And once I’d committed to Kisumin and got over the long-lasting initial wave of first love for her, the floodgates promptly opened and invited me into a world of not just her fellow idols, but her fellow talents in her considerable agency as well. Bambi’s group I knew well, chiefly through Meruda Ikeda who kicked this whole thing off, but even the third group in Yoyoyo came up eventually as well, and primarily their center and superstar Yura Yura, who had surely the idol moment of the year by getting herself locked in a toilet minutes before a live and missing the whole thing, having to be busted out by some engineers. After this, I got to know her more deeply and her sheer, brilliant all-roundedness.

It turns out that she also had a mid-year glow-up that turned her into something sensational. Kisumin might be the ideal of a idol, but Yura might be the purest in 01’s arsenal. The sky is the limit for her.

Such is the level to which the groups have taken a hold on me that during my trip to Japan, I shall be seeing them both not once, but twice. On back to back days. The first of these, in Fukuoka, shall be the fourth of their flagship Hashtag Nights, even though it’s actually their fifth because the fourth was put back by a typhoon in September which meant the fifth became their fourth but wasn’t called their fourth because it was always meant to be the fifth, even though the fourth hadn’t happened but will now happen while still being considered the fourth, even though it’s actually the fifth. After that, I get to see them all again at another performance that was meant to happen in September, these ones in Kumamoto just a Shinkansen ride down the island of Kyushu away. Taking in a genuine, proper idol performance like this shall be something to behold, of that I have no doubt.

It’s not all about idol groups for the agency, though. Eventually, I dipped my toe further in the water and found yet more personalities to behold, courtesy of 01’s extensive YouTube channel. It was there I discovered the likes of their ace in the hole, Nashiko, most notably a prominent cosplayer but also a model of fierce beauty. There’s Yume Hayashi, who carries the air of the cool, calm and experienced one in your group of friends while simultaneously being a superb all-rounder, the frankly preposterous Naomi Majima, the self-proclaimed ‘problem child’ Rea Hanasaki, who carries the just the right air of chaos about her, and another serious cosplayer in Mea Shimotsuki, who has no filter to the point where she is directly responsible for my two favourite videos of theirs.

(She looks so much like Hasshi in that second video, by the way. Just a shame she was never going to stay that way, by her very nature.)

My favourite of the solo riders here, though, is that one you saw questioning her own chest size in that first video. She has nothing to fear, though, for she’s still got the most appeal for me no matter what. She’s Mei Angela, and she’s just a pure, old-school fashion idol. She truly looks like no one else around, possibly on account of her half-Filipino roots, and packs a frame that threatens to match even mine: all 172cm of it. Through this, coupled with a deep, booming voice, she carries an aura no one else can match. Maybe the day will come when I can see her as well. Though in what capacity that might be I don’t quite know.

It’s a good job this has stoked some fire in my general interest because I was flagging mightily earlier in the year when it came to finding things to get excited about. iM@s, while being very much a part of the furniture in my mind nowadays, had a chance late in the year, when Columbia finally got with the groove and put the franchise’s songs onto streaming services. Unhappily, the all-important Cinderella Girls songs were limited by and large to game versions only, making the whole exercise a waste of time for me. Of the songs to get full versions, only Venus Syndrome really interests me. So I’m sitting around there until the potential for a CG weekender crops up, or something in September, the other time I would consider visiting this year due primarily to it being prime motorsport season in Japan.

Beyond that, though, it’s hard to see where the next truly big thing is coming from. The industry is at saturation point now, and there isn’t room for anything to break in at the moment. So there’s uncertainty creeping in as we begin to debate at large how long this can all last. But the outlook here is more positive than anywhere else, for now at least. And the all-important thing is, my three-year jinx is getting broken. That’s all I care about right now. This time next week, I’ll be in the place where all the magic happens…

Games: I found myself rather deserted on the gaming front. In attempting to look for some new inspiration, during the time where I wanted anything new to talk about, my scramble for gaming interests was coming up empty. Gran Turismo 7 had disappointed on the whole, and was saddled with an abysmal reputation from early in its lifespan anyway. Modern Pokemon is something I’d allowed to fly my nest after it found its reinvention in Legends Arceus – not that it stopped them royally fucking up Scarlet and Violet anyway. And there was little in new series coming my way to light the spark. It came down to picking up already established games I had, or ones that had been going for a couple of years, like Cyberpunk, which held my attention for some time but not long enough.

There was only one game from this year that truly captured me, and that was Needy Streamer Overload. This was like an express, unhinged version of DDLC. Ame was a compelling character, undoubtedly, and the goal of chasing all manner of endings made for a plentiful enough lifespan, all while making progression quick and easy. Even late in the year, as the game came onto the Switch, they were adding in more endings to explore. That leaves it uncontested as my game of the year. Well done, Xemono. You have made a masterpiece. Now to see where the next thing like this will come from…

…If it isn’t next year, though, it might be OK. I have two fresh new toys to play with, in the form of a fully-specced Steam Deck and my first plunge into next-gen gaming, an Xbox Series S which was going for less than £200 on Black Friday. Admittedly their biggest purpose has been to save a ton of space on my all-important gaming laptop, but there’ll be more things to come on them both at some stage, I can imagine. And while hopefully some of my favourite series do get some all-new games to ponder, there’s two I’ve got lined up to get. Firstly, the upcoming instalment of Forza Motorsport, likely to be a good use of my new XbSS. And secondly, none other than Final Fantasy XVI… Even if I have to wait six months for it. Then again, I might finally get my hands on a PS5 next year, in which case I won’t. My gaming hopes for next year are currently pinned on these two games delivering, big time. Of course, something else could bring the goods as well…I just don’t know what that might be yet.

IRL: I’ll be honest, this has been affecting things most of all. This is where the theme of failure has come to roost most of all. My real life has been filled with failure.

A lot of it stems from work. The fall-out from last year, which saw numerous good members of my team in the wake of forceful, unnecessary management dripped into this year, with team spirit not recovering. But things really came to roost when two of my most loyal mates, coupled with a guy who had done a brilliant job working with me, all handed their notices in at once. That was the moment when I first really thought I needed to start looking elsewhere, with nothing else to stay for and the job crumbling around me. There were roles I could go for with considerable pay increases, and with the knowledge and experience necessary to get myself in…in my head. I had interviews for more than my fair share…and none of them got past the first stage. All of them were filled with nothing but failure. And so I find myself still in the same old job. As it turns out, things have been getting better. The team has filled up again, and some of the much missed team spirit is back. I’ve got someone to back me up again, and management, while still being an arse, has mellowed to me, relatively speaking. Only when I make fuck-ups do they really come to the fore, and I’ve vowed to cut down on those now. So I’m sticking to my guns, for now.

In the midst of all this, since towards the end of the year, I’ve found myself interested in a girl at work – the most I’ve been in years. We’re talking going back to my school days. I’ve done a lot of maturing since then…but I still don’t think I have a chance. It’s more fun to pretend I do, though, so I’ll keep trying…because you never know. But I feel like I’m setting myself up for another failure here. Something may well happen…and no matter what, I might use it as an excuse to try and get myself out of my job again. To save myself the awkwardness of it all. Hell, maybe she’s all that’s keeping me there deep down? I couldn’t dare to admit that, though.

To give an idea of how much that’s messing with my head, there’s two seiyuu who look reasonably like her who have rocketed up into my top five as a result. (Arisa Komiya and Rikako Aida, since you ask.) God, I’m such a mug for that.

Still, if there’s a secondary (tertiary? …Quaternary?!) aim to the whole Japan charade it is the possibility of chasing girls. So that’s something, I guess. And if that fails…well, I can always carry on imagining myself with the anime girls I’ve liked for so long. You can do what you like with them. Maybe I should write that fanfic of my ideal life with all of them I’ve been promising myself. Or maybe I should keep those thoughts to myself. As I have done for so long now anyway.

Continuing with the theme of failure, perhaps the most devastating was failing my driving test. That meant I wasted the days I’d taken off to learn it, meant I’d have to wait for god knows how long to get another test in, meant I’d spunked all the money I’d spent on it… All for something I want, but don’t need. I know everyone says I should just get myself back in as soon as possible, but the failure has genuinely rattled me a bit. It was a couple of months ago and I still haven’t really got my confidence back. Oh, and my theory test pass expires in September. So god knows if I’ll find the willpower to give it another go…

And just when I thought the year was done beating me up, there was one last sting in the tail right in the middle of this month: my dad, having made a trip to hospital for a check on his prostate, got the results back, which found he had cancer on it. It’s been supressed at the moment, and it’s perfectly treatable at this stage, with him starting treatment now. But it’s the first time I’ve had to come to terms with such a thing so close to home. At least I’m at the age where I can deal more readily with these things. I wasn’t when he last had a health scare on this scale. That’s all I want to say on the matter, honestly. There’s no point overthinking these things, yet.

To tell you the truth, on the whole, I’m not really sure which direction to go in at this point. I’m not sure how to truly break free and stimulate myself again. Frankly, it just feels safest to go with the flow and see what happens in 2023… The only things set in stone are the trips to Japan and Le Mans. That’ll be two of the things at the very top of the bucket list, and they alone might make next year better than this. Maybe I’ll visit somewhere else on my list, or make as much of a habit as I can out of dropping in to Japan, as I thought I’d be doing in 2020 when I first thought about committing to the eventer lifestyle. But other than my currently booked trips, I have a completely blank slate. And something has got to fill it. Either way, I won’t be standing still. There’s a lot of things to resolve in 2023, and a lot of uncertainty as to how they’ll be resolved. All I can do is wait for everything to unfold in front of me…

Lost beefs, lost loves, new loves, rekindled loves, open compasses, open sources and open borders – Musings #14

I hinted in my last post at some disquiet in the ranks among the Shinymas seiyuu. I would have elaborated on it at the time, but 1) it wouldn’t have been particularly relevant in the context of the post, and b) at the time it hadn’t really been picked up on the western side.

Now, of course, the cat’s out the bag. And there’s been an apology.

That is Anna Yamaki, the deep-voiced and tall seiyuu of the even taller Sakuya Shirase, and one who is wholly good at her job. What she isn’t so good at is remembering to keep her private accounts…private.

What she’s doing here is openly slagging off Carin Isobe, her direct unit-mate in L’Antica, for her plastic surgery supposedly being ‘scary’. Quite something to say about someone who’s literally been involved in Miss Universe before. Added to that was a general sentiment about not wanting to hang out with her fellow seiyuu on one given occasion. Of course, this was all much earlier on in Shinymas’ lifespan than today. She’s doubtless not thinking in the same way these days, but that counts for nothing on Twitter.

How was this account found anyway? Well, as it turns out, it was private before, only for it to become open after Anna went to participate in a Twitter campaign…and left it open. Picture evidence with her in it across the profile left no one in any doubt.

And so, she’s apologised for the whole charade. But what of her relationship with the rest of her groupmates? Lest we forget, they were wrapped up in the most memorable seiyuu scandal of recent times courtesy of a rogue ex-partner outing Runa Narumi as a adulterer, forcing her swift replacement. (She got a mention on Anna’s private account, too. She quite liked her back then, actually.) Well, as it turns out, we got an answer from the other side of the coin, too. It was Carin who mentioned on her Nico livestream the ultimate outcome of this, which is that they had a talk on the phone and, I imagine, agreed they could dismiss it all as bygones, or they could spend the rest of their concerts as L’Antica ignoring each other like cross dogs. So it’s all water under the bridge now. Probably the best outcome for all concerned, really.

Shinymas has been having trouble with some of its seiyuu keeping on the straight and level, it seems. Others have been caught out for lesser transgressions, too. They’re finding out the pitfalls of going with so many fresh faces at once. Sometimes, those fresh faces are gonna slip up. And when you’re in the darling of the most popular idol series in the world, in Idolmaster – even if you may not get nearly as popular, due to sheer numbers – you won’t get away with things that easily. Perhaps this is even more justification for me to not really get involved in this side of things. There’s positives within Shinymas, no doubt, but it’s on shaky ground in some very important respects as well.


I haven’t felt that inclined to talk about proper idols here because I haven’t felt that involved in the whole scene and, consequently, have felt little need to talk about it. Someone’s changed that now, though. Big time.

But before we get to her, we need to look at one of my famed diagrams.

Behold, the appeal compass. This outlines the four underlying appeals that can be applied to a majority of idols in the game, for at its roots a lot of success in the industry comes down to one of these four things.

The core perception of the idol world at general is that they must carry an air of innocence about them at all times, and woe betide anyone who dares to do anything which could be perceived as scandalous. Yet this innocence is oft undermined to the point that idols find themselves in some very un-innocent situations indeed. A lot of the time, this involves gravure. So much so that there are idols who thrive solely off it, and not off the typically core content that is music. Though pure gravure idols are basically just models by any name, they are still idols in this context, and so they can fit in here as well.

To this, we must add the oft-general perception of cuteness that many an idol is tagged with. But cuteness is always a subjective matter. And there are multiple levels to it. Some are born with cuteness, but it can be forced in subtle little ways. But there are some for whom it’s better to just go with what you have. This lot can swing the other way, and aim for the other side of the spectrum, which is sheer beauty. And they can drop just as many jaws this way, too.

It should be noted that, while this can be applied to some seiyuu to a certain degree, it certainly can’t apply to all of them or even most of them. Perhaps for them a Z-axis should be added, that of ‘talent’ and ‘personality’. I recognise the two are far from mutually exclusive, but rather it should be a recognition of what they thrive off most of all. Plus, it can be suggested that those with more talent will naturally go to the top of the seiyuu business in terms of roles. The business, and busy-ness, that can result though, coupled with the professionalism that is required of such a position, may ultimately quash a seiyuu’s personality a little, with there being less chance to show it. That is what is meant by that particular side of a seiyuu’s appeal. I would plot out as many of my favourites in that sense as I could, but I haven’t constructed such a compass yet and I’m still wondering how the hell I would indicate where to place everyone on it.

Mind you, it would be interesting to fill it out some day. Not least because the situation with my oshis is shifting. And for a rather…unorthodox reason.

You see, it has been a full month since the last time we heard anything from my perennial #2, Ami Maeshima. That’s already worrying enough. What’s a real concern is no one knows why. The only updates on her have come from any events she’s not appeared at updating us with the announcement of her no-show, and they have been put down to ‘health problems’. Now in America that would mean she’d had ‘health problems’ but in Japan, in cover-up central, they could be anything from the equivalent of a damaged hairstyle to total decapitation. The fact it’s gone on for this long mean it could be just about anything at this point, but no matter what the issue is, to leave us in the cold for so long is just not good enough. There have been absences as lengthy, or lengthier, in the past – hell, even this year – but they were put into context immediately, or we got updates from the seiyuu themselves if they could give such a thing.

For instance, Liyuu was out of action for as long as this when her face took a battering in a taxi accident, but the latter point got cleared up within days (well, it had to, when it involved 1/3rd of Liella) and the former was justified when Liyuu started giving us pics again, in which she was clarifying she was still covering up or airbrushing bandages. Come to think of it, the one instance I can think of which involved a longer wait for news may well have outed said person as being unvaccinated…which, if nothing else, gave me an excuse to drop them. (Said person has, of course, just released a smaller PB which is exclusively gravure. Which means I’ll probably start pivoting back to her now.) I daren’t think the same kind of outcome would apply to Amita…but a whole month of total radio silence isn’t something I can get onboard with. That’s gonna sound not cool if she really is out for a serious reason, but letting the worry fester and not clarifying anything… It’s just getting me down, you know?

Because of this, there’s a slot open for someone to drop into. While I had two seiyuu already established enough to step into the breach, three seiyuu is very much my cap for proper oshi-ing. Which brought me to the idol side to look for someone to step up and give me what I want. Hence, the compass. And I made that as a way of working out what I really want from my idol.

And we can start from the bottom left of it. And the obvious candidate is my idol oshi incumbent, Yui Otoi.

Cuteness does not come too easily to me, but when someone has it in such abundance, I tend to notice. Yui had it to such a degree when I first found her, by chance on Instagram, that I pretty much had to check her out some more. When I found her to be fluent in English I committed there and then to her, not that it matters here. Unlike a lot of idols though, such is her all-pervading innocence you couldn’t possibly imagine her doing anything blemishing. And anyway, within notall, the group in which she presides, that’s her mate Kaede Hiroyama’s job.

Kaede’s pretty much the prototypical sort you’d look for from a more gravure-inclined sort of idol. She doesn’t do it all that much, to the point where it completely overrides all her other activities in the group, but it does define her to an extent. Indeed, given how notall’s most senior members graduated at once earlier this year, leaving Kaede and Yui to be the veterans in a lineup alongside three newbies, it seems set to be the most notable feature of any given member of notall. That’s probably a little harsh on Yui’s successful Tiktok, and I dare say she deserves more clout than she has right now. But that’s the way it is.

And if it’s someone most notable for gravure you want, why not just go all in and single out a gravure idol? Which brings us on to a serious figure in that respect, and my personal favourite, Jun Amaki.

It’s easy to forget that Jun was a full-on idol once, doing actual singing. But when you have cups like hers (while being a shortstack, to boot), they tend to get noticed. She has promptly leant into this, and picked up a following, that on Instagram, tops well over a million. In the right mood, Jun really is sort of just what you want. And yet I can’t help but wonder if she leans into the reputation she’s picked up a little too much. You can witness it on her Tiktok, where she happily fires off ahegao faces like there’s no tomorrow. I always cringe a little inside when I bear witness to one of those. But when I finally bit the bullet, swallowed my pride and dared to buy one of her PBs, I was left in no doubt. To be frank, a more than reasonable degree of the shoots made it look like she was in the process of getting an actual screwing. Possibly not entirely with her consent. It wasn’t my vibe, to be honest. So while I’m still cool with Jun, I now feel there’s very much a time, a place and a mood for her.

Much the same can be said for her polar opposite, in a gravure sense. If you know what I mean. That’s Yuka Kuramochi, someone who happily prides herself on having a phat ass. The problem is, she’s not showing it off all that much anymore. That’s because she has a kid with her fellow esports gamer, Fuudo*, and for a while at least her social feeds essentially turned into a live update of their boy, Minato. That’s not my thing, either. Motchi seemed to realise this herself, though. That’s why, for a while, she’s been digging through her considerable archive of her past glories and posting it on the daily. It’s sparked more than enough interest in her to get me thinking again. But can I really rely on someone who won’t be making material in the present on anything like the scale she used to? Not really, no.

*If someone like him can pull someone like her, god knows there’s hope for all of us yet.

And that gets us back to idols. While they’re still going, they will be a guaranteed source of daily output. All you have to do is work out what sort of content you want, and whether they strike the right balance. That’s where my other favourite idol group comes in.

Babababambi have been making waves since their start, chiefly because they’ve followed very much the conventional idol formula and made it consistent across all their members. They all do a solid combination of songs, including good crossovers with other prominent groups, meetups and gravure. Inevitably, the last of these makes the most noise of all.

In that respect, the most notable for gravy alone is Miyu Kishi. Look at her normally, all simple and sweet. Almost child-like in her essence, which can be seen in other little vids she does with her group. Perhaps that’s not a surprise, given she’s barely visible to the naked eye at 145cm. But that small body packs a serious punch.

Again, shortstacks are a free ticket to ride for most. Miyu has been rewarded with numerous magazine shoots and a solid following for this. And it might get bigger yet, judging by what’s next for her.

A Young Jump cover is no joke. Indeed, it’s almost as good as it gets in this corner of the industry. To that end, we’ll see what it brings her this Thursday.

But I don’t think Miyu’s the best member of Bababababababambi. That accolade goes to someone far more unsung than her, Meruda Ikeda.

Meruda may not have been the first idol I noticed, but she was the first to make me think about following one. And I’ve been rewarded for that in spades. Especially when, per that most recent shot, she’s getting put in bikinis a couple of sizes too small for her. Good though the other members may be, there’s no tangible reason she should be left behind by them in terms of popularity. Or is there something in this here, with her or the others? The issue here is, I haven’t really been feeling Bababababababambi closely enough to figure it out. And so that’s the issue. They’ve got a lot there on paper, but in practice, there’s something missing.

There can be no such doubts about one of the hottest idols going right now, though. She has been on the radar of many people these past couple of weeks, which can be testified by the one tweet I hashtagged her in getting like upon like – days after I posted it. That’s because she cropped up on my radar, too. There’s a couple of reasons why I might’ve run into her by accident. One is that she shares an agency with the Babababababambi lot, and has in fact sung the virtues of Meruda herself.

The other, more likely explanation is that Twitter has noticed what makes up a majority of my likes these days. Which checks out with the first I saw of her.

Now, my Twitter timeline is absolutely caked in this sort of thing, in spite of me not following any of the girls in question. And my routine is usually to like their tweet and move right on. Yet when I stopped and found Kisumi Amau, I thought within a matter of seconds there was something about her. A near-immediate sense that I found someone special. She has spent the past couple of weeks proving me utterly, utterly right.

That’s just stuff from before this week.

Hell, I don’t need to go on. Kisumi retweeted a whole clutch of her previous gravure from previous shoots just today. Go and check it out for yourself, and follow her as you do it.

Right. Now that you’ve let that all sink in, what makes Kisumin so much more special than the others? I mean, she’s just been doing gravure, like everyone else above her. Well, I’ve had three weeks to think about it.

Let’s start from the top. That face of hers. It’s the perfect mixture of cutesiness coupled with the right hint of maturity. And nowhere is it better demonstrated than in that smile of hers. Those little buck teeth at the front of hers give it a distinction you can’t just emulate.

She actually looked even cuter a year and a half back, but she’s just nudged herself the other way in the right manner, to make for something truly special. Maybe this came naturally with a slight age-up, but either way, she should stay as she is now for as long as she can.

But if you’re talking about her looks up front, you eventually have to get to her curves. See, the thing with a lot of the idols above, particularly the gravure-exclusive ones, is that, while they have undeniable sex appeal with their assets, their proportions make them only to my taste when I’m in the right mood. For instance, Jun, no matter how much she works on her lower end, is always going to be top-heavy by her very nature. Kisumi, though, is bang on. There’s no angle from, or outfit in which she’s in, that lets you down. This is about as rare a gift as they come, something that is impossible to recreate or force. You either have it or you don’t. In this respect, as well as others, Kisumi can count her blessings. I note, with some interest, her actual height and dimensions are in the same ballpark as my two favourite 2D idols, Kanade Hayami and Minami Nitta. If this is what is meant by life imitating art… Well, it’ll make some of the thoughts I harboured about Idolmaster at least 5 years ago look very silly, that’s for sure.

What this adds up to is the idol equivalent of Baby Bear’s porridge. Not too hot, not too cold…just right. That’s why Kisumi gets that naughty tongue of hers out so often. She knows how tasty she is.

Don’t think I’m only in this for eye candy, though. There’s real substance behind Kisumi as a person, as well. Perhaps this is where that aforementioned Z-axis should come in on the compass…? Let’s not sweat about that here. This is the idol game, where everything on the compass comes first and the underlying factors come later. And boy, is there a story to tell with Kisumin.

She’d been around the block with quite a few groups before, but in mid-2020 made the conscious decision to quit full-time idol duty, to concentrate on her gravure work. As we’ve already established, she probably could have got by on that alone easily, but within less than 6 months she was back in her current idol group, 2i2, debuting in December 2020 as one of a five-girl group. Which, within weeks, became a four-girl group.

Turns out Kisumi has a chronic disease that took her health out and forced a trip to the hospital to recover. This period is something she’s come back to time and again. It only had her out for about a month, but to have it from such an early time with a new group must have been even more hard to take in.

That’s where her true emotion comes out, and what adds to her appeal yet more. Nowhere was this more stark than when she blogged about her birthday that year, where the underlying fear behind a lot of idols wishes and fears was laid bare. Even in her tweets these days, the feelings she speaks of here come out. All this gives you a degree of sympathy for Kisumi that makes you want to root for her all the more. It gives you a real feel of flaws behind the perfection, yet those flaws in fact enhance her personality. They make her feel…soulful.

For the record, 2i2 is still a four-girl group even now. That was after an anti-account for the group popped up with slander, targeting each of the members selectively. Interestingly, the only one they didn’t go after was one of the original five, Risa Aoki. Even more interestingly, an IP and device check identified that account’s tweets to be coming from the same location and device as that of…Risa Aoki. And you thought Anna Yamaki’s antics above were bad. She was suspended and then summarily dismissed. Welcome to the world of idols.

Since then, the only way has been up. Eventually, come May 2022, Kisumi started getting back into the gravure game. And the results are what you see above. And, indeed, below.

It’s the most recently released middle one that’s caused interest in Kisumi to skyrocket, as within is much the same sort of thing she’s been flaunting for free on her Twitter account. It doesn’t matter. The paid content is still value for money. And it’s as described earlier. Just right.

She has, by her own admission, been on an egosurfing mission to make this happen, liking every tweet she’s been hashtagged in to the point where she’s been hitting the like limit. Despite this, she has been rewarded handsomely. She was trending for days on end these past weeks, to the point where even she was struggling to comprehend it. She posts pictures every 12 hours, and mostly they’ve all been crossing 10,000 likes easily. Sometimes even 20,000. She’s soared past 200,000 Twitter followers even in the time I’ve found her. Her Instagram followers are higher still. It’s gotten to the point where each 12 hours turns into almost an event for me. Pondering what new and exciting way she will find to blow my mind once again.

She accompanies the majority of these with the kind of flirty text gravure like hers warrants (not to mention the obvious pun in her name). It looks like the kind of self-confidence that someone needs to flaunt what they’ve got, but by Kisumi’s own admission, she’s putting it on a little. She thinks of herself as too shy to really meet new people, and as an anxious, negative sort. I’d say by that very nature she’s underselling herself, but it just goes to show again that she’s not afraid to tell the truth. She’s a heart-on-the-sleeve sort, and this, more than anything else, gives her the staying power to be so much more than just a pretty face and body.

Beyond this, a lot of her content is very much standard idol affair, but even here she goes above and beyond the standard. She does nightly Showroom streams, from which you get even more insights into her inner being. And coupled with her group activities is music, YouTube videos and the typical array of merch, chekis and full-scale meetups with the ever-expanding fanbase. Even some of these are gaining her notice elsewhere, from quarters even she couldn’t have guessed.

Incredibly, she still isn’t the most popular member of her group. That accolade rests with Toomi, who does…well, a reasonably similar sort of thing. But a bit more laidback. And at a smaller height. But while her look comes across as more sculpted and formed into its current state, Kisumi’s look feels far more natural. This might be the secret, most of all. Nothing Kisumi does feels contrived. She’s doing what her emotional self says she should.

All of this adds up to someone who, I would say, is the absolute essence of an idol. Kisumi hits all the marks of what I expect from one, and gets to the roots of the genuine appeals of the industry, while not hiding away from its murkier aspects and the cold brutality of participating in it. For this, she has broken the mold for me. She has taken my interest in it to these new heights.

And so, to the compass. What can we learn from this, and where on earth would all these idols place?

There’s a couple of obvious points to be drawn here. Firstly, you need sex appeal for me to get noticed, unless you go so far in completely the opposite direction I pick you out that way instead. But is there any point looking for it any more? After all, as we see here, Kisumi’s sex appeal is off the end of the scale. But then maybe I don’t need to look for innocence so much, either. After all, that’s what seiyuu are for.

So there we have it. I know you’re absolutely not supposed to ditch your #1 idol, even more so than your #1 seiyuu (which, I think I’ve said enough times, is not happening). But I’m sorry, with Kisumi, I’m going for broke. There have been excellent idols, as mentioned above, but none have made me truly want to invest in them, big time. Kisumi managed to get to that stage in a matter of days. And it’s not a moment too soon. With a space to fill, and with little in the way of new talent to explore on the seiyuu side, finding someone as good as her is the kind of revelation that…well, provokes me into this kind of blogpost. This, though, just speaks to the importance of luck in these matters. You could present me with someone you think is the greatest thing since sliced bread, and yet I’m more likely to find interest in someone I find completely off the cuff without even trying. That’s how I found a number of these idols in fact. And that strategy has finally struck gold. I’ve found my definitive idol to invest in. And I hope for a long and prosperous time worshipping at the altar of Kisumi Amau.

You know what the funny thing is about this conclusion is? I’m ditching a former idol, who did much the same thing as all the above for a living once upon a time, for a current one. In this respect, perhaps such a decision was only natural.


I’ve been trying my level best to commit to my previous statement of getting more involved with Love Live. And I’ve started by taking more of a look at the still-ongoing anime of Love Live Superstar.

Mostly, what I’ve found is proof of just what a good character Kanon is. Clearly the best in the group, and by some margin the best chief protagonist they’ve ever had. The facing up to her fears and failures, the occasionally dismissive attitude towards others, the cooler demeanour, it all adds up to someone so likeable. And the odd act of getting flustered by the rest of the group’s antics, with a facial expression iconic enough to have been immortalised in this Nendoroid of hers.

Seriously, that’s hilarious. If I were to buy such a thing, it’d be on that face for all time, that’s for sure. Even her taste in headphones is right, given she has the same pair I do.

The anime is coming to a close, though. Which, once again, leaves the small matter of the seiyuu that I cannot stop focusing on despite vowing to stop focusing on them.

But you know what? Screw that vow. The new four made their full-fledged performance debut this week, and were impressive by all accounts. They were obviously a little emotional at the chance to be finally unleashed after three months of questioning whether they’d live up to the standards the first gen had set, but we can forgive them that. Emorin in particular had the feels. Yabu also had them a little bit as well (but claimed she was just sweating, not crying, as one does).

The coolest head in the place, though, was Kuma. And increasingly she’s starting to make a name for herself.

I’m seriously impressed. She already had some of the loveliest looks among the group, but she’s got a real force of personality to back it up, enough to rival Nagi even. She carries the same air of coolness as Nagi, too. And the fact she’s getting so far into her very notable character, Shiki, is certainly getting the fans ramped up as well. It’s no more than she deserves, frankly. She’s already at the level of the first gen. I’m gonna enjoy her for plenty of time to come. Yabu, for what it’s worth, is getting there as well. Even if she’s still shy and nervous, there’s more than enough there to grasp for the future.

I’ve got something else to look forward to soon, too.

Sayurin isn’t hanging about with her PB. She’s gone straight in with a full-size, Liyuu-spec one. And I have indeed gone for a physical copy. She deserves it, too. She’s gonna be a force for a long time to come. Even if, somewhat surprisingly, the first person to get a voice in another anime will be Nagi. I’d have banked on Sayurin getting a voice before Nagi. Then again, I would’ve backed Nagi getting a full-scale PB before Sayurin. But then they both have the quality to go all the way, so they can take what they get at this stage. Well…there’s only so much Sayurin can take.

A facial expression to rival her own character’s.

Their biggest boost of all, though, may have come with the news of a proper game for them to be in.

Now this is something to look forward to. SIF came before I got hooked on gacha, notwithstanding that my Love Live interest came as mu’s were on their way out, which would have made getting into the game in the first place a somewhat pointless exercise. SIFAS has been losing players hand over fist, and so comes the need to make a new game to prop up the aged SIF and the unloved SIFAS. Hence, SIF2. And having Liella along for the ride can only add to the entire appeal of it. I will be giving this a look, needless to say.

And it also helps when you directly copy probably the best (2D) idol in the world.

That’s such a direct copy, it had me cracking up for minutes on end when I put them side by side. I can’t wait to see what Tsumugi will be like when she inevitably joins the Nijigasaki group in a year or so’s time.

So times are getting very, very interesting indeed for Love Live. And all this continues to validate my belief in sticking with it. I’m at peace with the whole Liella thing, even if in my heart of hearts I will still firmly believe there was a better way to integrate the new members. I think they are brilliant; I also think they should still have been introduced as a separate group within the same universe. I feel I am allowed to hold both these opinions simultaneously. I also know that opinion won’t change anything. I’m taking what I’ve been given, and I’m enjoying it as best I can. And frankly, I’m fine with it.


I have an elusive gaming update for you all. And it comes in the form of a new console…or is it a PC? You be the judge.

It’s a Steam Deck, and I’m impressed with it. The games that work well on it do a real good job, and have saved me a great deal of space on my laptop, which was part of the point (and also why I bought the expensive, top whack 512GB model). Of course, quite a few other games require some trickery to get running. But I’ve found a couple that haven’t required much persuading to work with the Deck. There’s also the desktop to think about as well, which is of particular intrigue as this marks the first instance of any kind where I’ve been running Linux. There’s actually a full house of emulators available on the Deck, which will save me even more space than anticipated. And you can get everything running as you’d have on a regular desktop. Mind you, some bits and pieces are tricky to get around. The trackpad that serves as a mouse isn’t especially accurate upon clicking, but even touching can feel ever so slightly off-centre. Apps with multiple windows open can’t be brought up in an especially slick way. And the limitations without a physical keyboard are pretty egregious, both on desktop and gaming. But all this is a small price to pay for something genuinely fresh and interesting. I’ve got space to spare on it, as well. Space I’d happily use on more eligible games, and new and exciting ones, too…


Of course, all this investment put into 3D action over the last three years or so would count for nothing if I couldn’t go out and witness all these glorious girls before my very own eyes. It’s been a long, long wait to be able to do that, but finally, after so long cursing the timing of my full-time commitment to all this, the borders to Japan are opening. 11 October is the date the gates are flung open, no doubt unleashing a relentless crowd of people who have been in the same boat as me.

I, though, will have to stay on that boat a little longer. Alas, as my attention has turned to getting some long-put-off aspects of real life in place, I cannot get the time to visit this year. Next year, though… Watch out. And I’m not gonna hang about.

There’s a whole host of events to be announced yet ahead of the very start of the year, but one very obvious target reigns supreme in the form of Liella’s upcoming tour. The idea was to target the Tokyo event they had with the idea of spending the maximum amount of time in the country and finishing with Day 1 of Aqours’ next live, but as it turns out I simply cannot get a code in time for the Aqours live at this stage. Oh well. I was never going to foresee an exact date I could get the requisite CD in on time. And anyway, it’s only Aqours. There’s always the chance I’ll get to see Rikako and Arisha in the flesh in even better conditions…

That’s because I’m instead getting designs on trying for all the lives from the start of the year, and then letting the most ideal date take its course. I would even have gone for the Hokkaido event, not least because it only requires cheaper CDs to enter into. And I could always claim to people I know I’m going on a skiing holiday. They wouldn’t be to know that I only ventured to the north of the country in the name of finally breaking my live virginity, and with the one group I’d want to do it with most of all.

Alas, its Day 1/2 is on a Friday/Saturday, unlike the rest, and given the time I’d need to get to Japan in the first place, coupled with the ideal days for me to take off, I wouldn’t be able to see it. Furthermore, there’s an even more compelling option now on the same day, in the form of a live with 2i2 and Bambi in it. I don’t even care that it’s all the way over in Fukuoka: that looks like the kind of thing I’d definitively call a can’t miss performance. We’ll gloss over the fact I’ll get plenty more chances to see them yet – there’s nothing like doubling down on your new favourite idol than making her group your first live, right? (Liella’s Chiba live permitting, of course.)

The great thing with this strat is both the potential to get all manner of events in addition, and the thrill of not knowing exactly what I’d get makes it even more tempting. Needless to say, though, I would absolutely go for any event with one of the big three idol groups mentioned previously, clashes permitting. Of course, there’s a more than reasonable chance I get back-to-back Liella events… Except as soon as I get one, I won’t go for another (Saitama excepted). That’s because I don’t have the proper means to get a ticket until I actually get to Japan and would rather not pester someone more than once for the way round the ticketing methods. Once everything’s in place, though…ain’t nothing gonna stop me from there.

Obviously I’ll only get so much time to visit on each occasion, but now I don’t have to look at each prospective live as something to dream about. I can actually go to it. Cinderella Girls lives, Love Live festivals, individual seiyuu events… They’re all in reach now. This is the kind of desire that I first showed in early 2020, where I made a real declaration of intent with spectacularly cack-handed timing. It’s been burning since then, and now, I can quench this thirst for real. Sit back and enjoy… Or join me at these lives instead. 2023 is gonna a big year. A year unlike anything I, or this blog, has ever seen.

A change in priorities (or is it?) – Musings #13

Apologies for not having mused for a couple of months. My mind was put off by a combination of holidays and my job going to shit. Both of those things are largely behind me now and so I can resume what had been the 284th project I’d stopped doing on this blog before time. Except this was never really a ‘project’, more a casual thing to get thoughts off my mind. I’ve got more than enough of those to talk about here. Way more than enough.

And the big thing with a lot of those thoughts is Bushiroad, who continue to fall into a pit of despair. It’s hard to know quite where to start with this one. So let me start with me finding out, as I was trying to scramble to work in the early hours of one morning amidst a rail strike, that D4DJ had announced one of its seiyuu was leaving her role. Not through their own announcement, but through a comment on my blog. I have to say, that’s not what I was expecting this to be used for some day.

There’s a couple of different perspectives you can look at Kanon Shizaki’s departure from her role as Rei Togetsu from, but first and foremost, there’s one thing to make clear and obvious: this was coming. The signs were there for months. And you didn’t need to be a particular fan or her or Happy Around to notice them, necessarily. This was not a surprise when it cropped up, and there’s a chance it won’t be the first departure from the series like it.

Of course, this is not Bushiroad’s first rodeo with seiyuu leaving a role. But in the previous instances, relating to Roselia members Yurika Endo and Satomi Akesaka, they both had genuine health grievances which forced their replacements. Interestingly, one of the Roselia members to benefit from this was…Kanon Shizaki.

Now, Non-chan did have a health issue earlier in the year, to do with her vocals. That forced her out for a month and a bit, but it hasn’t necessarily affected her when it comes to doing Roselia work. She’s looked perfectly alright doing those. And yet we had her, at the last big D4DJ live, pulling out within sight of the event. What this leads us to believe is that she’s clearly more interested in the nuances of her Roselia role than her D4DJ one.

It’s not hard to spot the differences. She is, of course, the keyboardist in Roselia. Yet in D4DJ lives, she’s being asked to haul around a keytar…which by and large she doesn’t play. That makes it superfluous enough as is, especially when you’re giving it to someone who got into your circle in the first place to play keyboard.

The singing side of things was probably fine by her, she was doing that in Roselia too anyway, but the extra dancing choreography that came with her Hapiara role might not have been. And what also might’ve turned her off was the added factor of voicing a key character. Which Rei is, being in the main group and everything. Off the back of that, it’s clear where Non-chan’s priorities lie. With the exact bits and pieces that come with her role in Roselia. Nothing else.

Now, on the one hand, you could debate as to why Non-chan wasn’t willing and able to get herself perked up for the bits of the role she didn’t fancy. But at the end of the day, someone should have known what she would have fancied when they started off. Or if they thought they could push her into a more involved role, why they let things get to the point where they were happy to let her up sticks and leave it to someone else. If Bushiroad did not foresee something like this coming, the blame lies with them.

What they certainly could have seen of late was the recent troubles of the very agency Non-chan works under. Ace Crew, a frequent source of hiring for Bushiroad, have been losing seiyuu hand over fist of late, as they find themselves enjoying far greater freedom under a freelance banner, or simply at a different, better agency. Putting it under that context, Non-chan’s general mental state may be more understandable.

And there’s an evident belief that Bushiroad may have been fitting square pegs into round holes throughout the series. You can sense it in the availability of certain groups, and the vibes they have when they become available. Peaky P-key has struggled for availability, to the point where they won’t have had a proper 1st live until 4 years into the franchise. But they’ll be fine ultimately, no matter how busy their frontwoman Aimi is, as she stands to remain a permanent stalwart among Bushiroad’s series. Photon Maiden, though is a far bigger concern. Risa Tsumugi can generally be counted on to be motivated, yet you still feel she’s more a part of Raise A Suilen as they go through their never-ending run of lives. In much the same way that Roselia do, incidentally. Haruki Iwata, too, looks most inclined towards her work with Harmoe, which is picking up steam now. And then there’s Ami Maeshima. And I have much more skin in the game with her than I do with someone like Non-chan, as I consider myself a pretty fervent oshi of hers.

The fact is, though, she also has different interests which are at odds with what she has been given in D4DJ. Primarily, and especially since the release of her glorious PB, there’s been a sense of burn-out with her. Partly that’s because she promoted it to the point of overdosing on her. And partly it’s because she hasn’t done a lot since then. Her YouTube channel is no longer the major point of interest it once was as she churns out casual video after casual video, which would be fine if she did stuff in the flesh to get you stirring. But what she mostly seems interested in doing are stage plays. Such as, for instance, the one she did around Christmas time which just so happened to clash with the D4DJ live scheduled for the same period, forcing her to be the only absentee. You see what I mean?

Now stage plays aren’t unusual among seiyuu. You’ll see them dotted around a lot of different schedules from time to time. But they have all sorts of meaningful content to supplement it. Amita doesn’t. And no one is rushing off their feet to go to these plays. That shouldn’t stop her doing them, of course. It’s what she wants. But it’s not Photon Maiden. And that’s what I got into her for.

The signs of Amita’s indifference towards it aren’t the same as with Non-chan. With her experience of lives, she can style out interest in her performances and look very good doing it. But the fact she doesn’t exactly rush off her feet to perform the role, despite being ostensibly readily available for it, speaks volumes. The clearest parallel with Non-chan is that she has a role from Bandori, as Aya Maruyama, that she loves. And so you have to question, once again, why Bushiroad has failed to motivate Amita towards Ibuki in the same manner, or if they felt she wasn’t particularly inclined towards it, why they stuck her in the role anyway.

But perhaps the true fate of PM was revealed by the latest news from Hinata Sato. She’s occupied enough as is, with her talents opening her up to all manner of roles, and that was recognised by her receiving a voice in the current idol holy grail – to the point of almost being confirmation of the elite in the business – Uma Musume. This is her fifth such role in a multimedia franchise, but Revue Starlight is very much winding down, her Love Live part is smaller than that of a regular seiyuu and her Project Sekai work involves less on the live side – especially if Vocaloid run with their preferred and famed method of running lives. But the fact she’s been picked up by the golden egg of franchises is going to marginalise D4DJ among her roles as well. And even though Uma has a whole clutch of busy seiyuu in its ranks, when it wants them for lives, it will get them, by sheer force of will and attention. That’s the power it holds and can afford to flex at this stage. Especially when you compare the lower effort required, and higher paycheck earned, for the seiyuu. It’s not like learning choreo and singing for a pittance. Just stick on some horse ears, yell what you need to in the group songs and the job is done – and with a whole lot of extra clout on your side, to boot. And if your character gets a card worth rolling for in the gacha, you’re set. Obviously, you have to be in the right cliques to get a role there in the first place. But the long and short of it is, with Hii-chan in the mix now, anyone baying for live Photon Maiden content – i.e., me – should be afraid. Very afraid.

I dare say that the general unavailability of its members at once contributed to their wholly shaky 1st day performance at the most recent big live, a problem that was only cured by taking an extra day to figure things out. So this state of affairs is having tangible effects on what should be an undeniably quality musical group as well.

The fact it has come to this, that D4DJ’s full potential is being squandered and is starting to leave what should be its most key groups by the wayside, shall render it a failure. If Photon Maiden in its current form does go by the wayside, I’m 100% checking out. Simple as that. One of the most exciting groups on paper, mismanaged and left hanging with all the promise it has just left on the table. Unbelievable.

And then consider the very real prospect they may need replacements for those that have left. They’ve already got that problem for Rei, of course. And replacing her will not be an easy job. What you make of Non-chan’s voice is immaterial; falsettos like hers don’t come around that often. And many a Hapiara song that comes around now may well carry the very real sense that it isn’t the same any more. But I feel no real sympathy. Again, as I said, they brought much of this on themselves. God knows what’ll happen when it comes down to making any potential PM replacements. You aren’t recapturing all of the seiyuu’s individual qualities there any time soon, that’s for sure.

It should be said that it’s not all bad news on the series’ front. Indeed, the other three groups are sustaining the franchise by themselves at this rate. Merm4id has undoubtedly been the most successful, though given the level of 2D and 3D eye-candy they offer they were always going to be an easier win than most (notwithstanding their generally quite excellent music). Rondo seem plenty invested enough, even as one of its members in Tsunko has another tantalising project lined up as her agency seems more and more likely to turn their April Fools’ unit of idols into a genuinely serious group. And Lyrical Lily were always going to be safe as houses, its seiyuu being filed as they were under the ‘fresh blood’ category, though their continued believe that throwing Amane Shindou at anything and everything has probably helped their case. But the truth is, that only adds up to 3 out of 6 groups. And actually, given that Call of Artemis is getting more involved now, it’s only 3 out of 7 as the prospect of getting all its members together at once again undermines the very real quality they may have.

So D4DJ continues to be very much off the table for me at the moment. But it’s not just about D4DJ itself. Rather, its current state feels summative of the general vibe pervading every corner of Bushiroad’s works now. There’s a sense of malaise in the air, a sense that there is nothing worth following them for. They fail to excite and delight in any tangible way right now, and there is no sense that anything they have on the table at the moment will kick them back into gear any time soon. Couple this with the fact they continue to charge extortionate prices for their live events, with quality that doesn’t match up to give value for money, plus continued mediocre choices for venues and various failed experiments with some lives, and you can see the hole Bushiroad has dug for itself.

I discussed the Bushiverse’s plight with others recently and we concluded the point at which things started going away from them seems to be around when they introduced Morfonica. But it’s not necessarily them that caused the downfall, even accounting for the shaky initial reception to them. It’s the general sense that they cannot justify the prices with which they rip off live-goers for seats that aren’t even the best available. Not that they can fill even the cheap seats. I recall a fairly tragic picture of one live in a proper dome, with barely a handful of seats in the upper deck filled. So there’s problems at the top and bottom of the chain. Which shows just how bad a job they’re doing of growing their current fanbase.

It struck me eventually, though. The simple fact of the matter is that the main things they have going are too similar to themselves. They need something new and creative to get the blood flowing again. God knows, they’ve got it in them to come up with something. I know Poppin Party has hit the availability buffers, but that was their just reward for being brilliant. Revue Starlight didn’t become a hit by mistake, either. And they’ve got the talent in their circle to get a tangible product together. The key, though is for them not to use too much of it. Too many of their series are blighted by having the same old faces in the mix, leaving precious little room for others to get a look-in. That’s why they should reserve spots only for the best of their group. Get Amita in something she wants to do and she will reward you. Ayasa Itou is more than good enough to improve anything she gets involved in greatly. And of the young blood, Yuzuki Watase has more than enough potential to warrant more involvement in a series. Maybe chuck in some of the lesser used names if you want, even someone within D4DJ like Hinako Umemura, or someone along the lines of Hikaru Tono, who went criminally neglected to the point where she was hiding in plain sight for Uma to take on, from where she has gone on to the success she deserves. But Bushiroad should not lean on what has come before. They need to break away from the familiar names and out of their comfort zone to haul back in the interest. Don’t rely on the old guard. Don’t throw Amane Shindou at something like she’ll solve all your problems. And if you must have a big name (which is not necessarily the case), cast your net towards someone a little more readily available than Nana Mizuki or the likes of Ayane Sakura. Trust the process, get in some quality new bodies and you have a starting point.

The problem is… Can I see Bushiroad pulling that off? Right now? No.

Put all this together, and there’s only one thing for it. I simply have to find somewhere other than the Bushiverse to get my kicks. But where? Well, for this, I need to look for the polar opposite of the Bushiverse. I need somewhere with a real sense of liveliness about it, something to keep me looking back on a regular basis. But I need some tangible interest to go with it as well. And the simplest way to go about it is to see where the majority of my favourite seiyuu are at right now.

To look at this, I’ve made the one thing that can get my point across best: a graphic. I’m fond of these where required, as I’ve demonstrated before. So, here is the frankly ludicrous structure of my top tier.

Let me try and break this mob down in some coherent way, if I can. Starting with the obvious caveat lying permanently in the back of my mind with all this: “No matter how good someone is, they’re not as good as Ayaka Ohashi.” And especially not after the last couple of months.

Yes, she has a PB out. And of course I got it. Not just once. But three times. There’s actually a fourth on the way as well for another bromide, but I forgot I ordered it a different way, so it isn’t here yet. Which is a minor inconvenience because I might not have somewhere to put that bromide on my oshi shrine now.

Anyway, the PB itself. I love it. I love everything about it. It’s just Hasshi, through and through. It’s not the best or even greatest PB I’ve ever seen – both those accolades rest with Rikako Aida’s seminal 2018 work – but it is now my favourite. I’d show you what’s inside…but I have three copies going, so if you want to see it for yourself, you know who to call for your very own Hasshi PB.

Aside from that, she continues to deliver the goods like only she can on a consistent basis. Observe, if you will, her Anisama appearance this weekend.

With that much leather in her solo outfit, I could almost imagine her having a hotline to my mind. And yes, she had Marty Friedman out of actual Megadeth alongside her. She’s living her best life, and we’re only too happy to drink it in.

So I could easily conclude my search with the simple maxim that everything’s better with Hasshi in it. But she can’t be in everything, because she’s busy. Sometimes too busy to do things she’s already in, in fact. But not to the point she’s difficult for any of them to get. As if to prove the point, she is showing at both CG and Bandori events next month, on top of her actual birthday and the inevitable celebrations that’ll come with that. This state is what I call ‘perfect busy-ness’. More than active enough to keep all sides of the fandom happy, but not so overrun you end up in the sort of state Akari Kito ended up in when she was asked to cover 7 different roles in one event and ended up looking so jaded even she could laugh and joke about it by the end.

And Akarin isn’t the answer, either. She might have been around about this time a year ago. But since her PB came out, something strange has happened. See, I have a clear image in my head of what I think most seiyuu look like. Akarin was always very good at changing her look quite drastically and still maintaining what I perceived to be her definitive look. And yet she somehow cropped up with a PB in which next to none of the shoots looked like her, to the point she could almost be mistaken for other seiyuu instead. Since then, it’s started spreading into her everyday look from time to time. Sometimes she has those unmistakeable sleepy eyes. Sometimes she’s done them in such a way it looks like they’re about to pop out. I’m not entirely sure what’s causing this, but it’s led me to often believe that Akarin ‘doesn’t look like herself’. So much so that there are other seiyuu I’ve found who look more like her than she herself does. Especially those she’s in touch with.

That’s Nichika Omori, another one who changes her look incredibly frequently and with plenty of success. And I could’ve sworn to god she was Akarin in that post of hers. (It’s even funnier when I tell you Akarin actively liked the post in question. Almost as if they’ve been sharing tips.) There’s no harm in seiyuu looking like each other, of course. Some of them are achingly beautiful and better off for it. Just as long as they don’t look too close to another.

It feels like the only instances where Akarin looks really close to how I know her are when she’s on Love Live duty. God knows why, but if there’s anywhere for that to be the case, I’d rather it was there. And that brings me onto the main idea I’ve had to get out of this rut. Love Live, by any standards, doesn’t have the greatest reputation any more, but the key thing with it is that it produces to such a degree that it always has some life about it. Something with enough meaningful activity to keep you interested is what matters in this game. Admittedly that’s something we should be able to take for granted with these franchises, but as we’ve seen there are companies out there who can’t even nail the basics like that down.

Akarin’s branch of Nijigasaki feels like the safest bet nowadays, actually. The group they’ve built up has a very solid compliment of seiyuu to behold, all told. There’s actually no real weak spots in their lineup, which is not bad going if you count the full 13 in the group. I know I’ve blathered myself silly about Akarin’s looks, but let’s not kid ourselves here; she is still a world-class talent. But there’s two other studs in the group as well, in the form of the delectable Miyu Kubota – even more delectable when you consider she voices the best character of the lot – and the genuinely wonderful Japanese Kylie herself, Shu Uchida. She’s a proper all-rounder, even without the obvious English factor. The rest of the group can more than hold their own, though. Aguri Onishi is a real sweetheart, Kaori Maeda is much beloved for all the right reasons, Moeka Koizumi is an amusing sort, Akina Homoto is really cool as well and a good singer to boot. Even Mayu Sagara won me over eventually in spite of having to voice Kasumi, largely off the back of the absolutely glorious moment where a notification for an adult site popped up on her phone while it was being streamed. Which just served to prove that, at the end of the day, this lot are all human as well. Oh, and her smile’s rather sweet as well, I’d say.

Chiemi Tanaka has pulled a few funnies in her time, while Natsumi Murakami, Maria Sashide and Tomori Kusunoki complete a strong lineup of performers, though the lattermost of those is somewhat undermined by her relative inability to perform at lives, the one chink in the armour of this lot. It’s a shame as well as Tomoriru is considered by many to be possibly the most talented and charming of the lot. But that would go without mentioning the award-winning Hinaki “Ya know” Yano, who has real emotional investment in her role as Yu and who rocks a genuinely unique look that I’ve warmed to of late. Of course, I’ve seen the appeal of this lot from the franchise’s inception. But either I haven’t felt strongly enough to act on it, or something else has caught my interest first. Now though, with an opening to be filled in? I’m thinking about it.

But of course, that’s far from the whole story with Love Live. Indeed, things have gotten so bad in the Bushiverse that, and I’m not kidding, even Aquors feels more appealing to be into now. Not that I can really take that plunge, of course. But I can at least pay attention to what I like about it. So in a 3D sense, that’d be Arisa Komiya and Rikako Aida.

Of course, it helps that they seem deadset on only appearing when they’re together these days.

Arisha’s been a known quantity for a while for me now, but Rikyako continues to rise and rise in my estimations. When she has her smile on, which thankfully is more often than not, she really is a marvel to behold. And she has the added bonus of voicing the one good thing about 2D Aqours (assuming music does not count as having ‘a dimension’), which is Riko Sakurauchi.

Mind you, it also helps when, unlike 99.3% of seiyuu (coincidentally, the remainder of what remains in my recently-updated sorter), you can imagine what they look like in nothing but lingerie. Not even that Hasshi doppelganger in the group has done that yet.

And then there is, of course, Liella. Now I know I said I’d very much chosen to leave them behind after the decision was made to turn them into a conventional nine-girl group. I stand by my opinion on that. But getting away from them has exposed to me just how difficult it is to find groups that will do it for you, capture and captivate you in the way that keeps you coming back. I had definitely neglected that side of things when I walked away from them. I had taken for granted the buzz they had about them when I was invested in them, and not thought about how on earth I could fill it in. That said, I couldn’t get into them in the way I managed to months ago. Especially now their five-girl era has closed once and for all with their Summer Sonic performance. But with other things to supplement them, I won’t need to go all in.

And it’s not like the shift to nine has been completely without merit. Some of the new girls have gone down quite well, most of all from what I can see the Maki-lookalike Mei “Yomeme” Yoneme, and Shiki Wakana, whose relative quietness, shyness and lack-of-smiliness was always likely to attract her to the kind of fan who shares those exact qualities. Which is most of them. The good news is both are voiced by two strong, high-potential seiyuu, the former by the very well-rounded Akane Yabushima and the latter by Wakana Ookuma, who has an appeal that strikes a perfect balance between cute and cheeky. Yet the consensus favourite among the general fandom is that Aya Emori is the best of the newbies. I can see why, but she doesn’t float my boat. And the focus on the entire rest of the group means that the last of the new cast, Nozomi Suzuhara, hasn’t been able to make any impression on me so far whatsoever. And there you see the problem with moving to nine girls. Getting five seiyuu, all with such charm, was already achievement enough. To think they could find another four of the same caliber was incredible. And so, a complete group has become incomplete. Again, it didn’t have to be like this. If they wanted to introduce another four characters to Superstar, cool. They should have done it, and made a separate group for them. That would have had the double effect of preserving what they already had and opening up a new avenue for another group to capture the imagination.

Mind you, the original five haven’t had it all their own way of late. Indeed, they might’ve got next to nothing done for the past 2 months if left to their own devices. This is due to the Covid wave that hit numerous seiyuu as it got it into its stride, as firstly Sayuri Date, then more recently Nagisa Aoyama, got caught in the crossfire. Mercifully their absences extended no longer than the prerequisite 10 days.* And that kind of absence was nothing compared to what poor Liyuu had to endure. Her plight was a lot more freakish, not least because it happened with both Sayurin and Naomi Payton around as well. In short, a taxi with the three of them in it got crashed into. While Sayurin and Pay-chan were both pretty much fine, Li-chan got put out of commission for a month with what was termed as bruises: pictures towards the end of her absence suggested they were facial. Even by the standards of someone as soft and cuddly as Liyuu, I think no one could have done with a hug around that time more than her. It also puts into perspective what happens when someone you oshi disappears for such a long time. And then it happened again with Nagi, as well. It’s been a rollercoaster of a summer for Liella, that’s for sure.

*Nor did they suffer any particular symptoms. The plight of some figures who caught Covid has brought into question a couple of vaccination statuses, not least one person I follow. Not to make assumptions, but if the state they ended up in was anything to go by… Well, I have another PB up for sale, if anyone wants it.

Still, at least their solo work is blossoming again. Sayuri’s got her first small PB coming out. Pay-chan’s getting photoshoots as well, including one with Agupon. And Liyuu has a new song. Hope you’re ready for the change-up in the middle of it. I certainly wasn’t.

But by the individual merits of each of its original members, and possibly even those of a couple of the new ones, it was in truth never likely that I would let Liella go in its entirety. My true fandom of it has flown the nest now, but I’ve accepted that I should keep it around my conscience in some form. And that’s why I’m swinging back Love Live’s way.

But hang on, you may ask. What about iM@s? Yes, I know. I have considered that, too. And I’ve dismissed it. And that’s because there’s something stopping me with all three of its branches.

Yes, Cinderella Girls has a bevy of quality seiyuu on hand. But the inclination to include the newer clutch of seiyuu who are less established and who are never likely to break in to my mind in any meaningful way, given the clutch of seiyuu already filling my time and sheer number of seiyuu to match up against, means the likelihood of a live being worth following is less likely for me. Obviously I’ll be more inclined towards the biggest individual lives, as they’ll have favourites of mine up the wazoo and a more than likely guaranteed dose of Hasshi. But those lives are few and far between.

And there’s the small issue of a lot of the best seiyuu being harder to get than most. Azumi Waki is undeniably wonderful, but she’s very much Uma’s own now for obvious reasons. And before you ask, no, Uma is not the answer here. I cannot invest the time into properly getting into a new series, because I simply do not have it. It’s known quantities here, or nothing. Sumire Uesaka, meanwhile, is usually too busy feeding her cult with the kind of material that continues to will her on towards the demi-goddess status she will one day assume, possibly on the day her new PB comes out. That’s the seiyuu equivalent of a WMD, and will have tens of thousands dreaming and creaming of her for weeks to come. Even my old favourites, Aya Suzaki, Yuuko Iida and Haruka Yoshimura, have their actual lives to think about now. And no one else gets me going quite enough to really interest me, even the likes of the venerable Nozomi Yamamoto and Ruriko Aoki. Still, if you think I’ve shortchanged Nojomiy there, that’s nothing compared to what Bamco themselves did, which was forget to put her in the 10th anniversary credits.

Still, it’s not like her character is too major. She only appeared in the anime in the main group. And had one of the first Cinderella Masters. Good grief. No wonder she’s aggrieved.

Million Live doesn’t have the same concern about forcing new seiyuu upon us, given its cast is fully established, but alas there are only three seiyuu in it who I properly care for and their roles mean they end up being tied together in terms of what they perform. Plus, two of the three, Machico and Pyon, are in the top tier almost entirely off their ML work, hence the ‘ML half-space’ clustered into the figure above. Of course, there is an alternative universe out there where I’m genuinely invested in Mirishita and by extension ML, after I rolled Tsubasa4 when she was the featured perm within the 250+ rolls I had, and where I’ve been oshiing Pyon for two years now. Unfortunately, we aren’t living in that timeline.

The last option is Shinymas, the current fandom favourite, but while it has a clutch of very good seiyuu, it doesn’t have any great ones. And some of the ones in the mix are showing the kind of signs you’d expect from an entire group of fresh faces. That’s code for ‘they’re making mistakes that are catching the otaku’s eye, in the wrong way’. You’ll have to dig into their world (so their Twitter or 5ch) to get the full deets, but there’s at least four seiyuu in the Shinymas mix who have raised some eyebrows among them of late. Nothing as serious as ‘the Runa Narumi incident’, you understand, but worth noting and/or keeping an eye on all the same. Foul-ups sprouting up on multiple fronts is very un-iM@s like, it must be said. Finally, on a personal level, while there are plenty of seiyuu I enjoy in the series, there’s also a few I find quite overrated. It’s all very well me not seeing the appeal of some seiyuu, but when people run around telling you they’re the second coming and you must follow them or else, all you’re gonna do instead is turn me off them, big time. This problem applies to a couple in CG as well, actually, but on a relative scale the problem there is nowhere near as acute.

Oh yes, and seeing as four of their seiyuu are in the mix, I should mention iRis. Lovely, but I need a full series, thanks. And Pripara’s not really my thing. Luckily, Nijigasaki has Miyutan in it so I don’t have to regret them being only an occasional follow these days.

Perhaps the key to me choosing Love Live over everything else, though, is that their groups are more tightknit. Their lower numbers make it easier to appreciate those who are there, which contributes greatly to the livelihood I mentioned at the start that I’m looking for at this stage of proceedings. And the move to multiple-running franchises, to that effect, has been proven to work. In this sense, the continuing flow of content means that there will always be a steady stream of interest to take in. The only doubts I have are those of reputation and my previous with the series. I’m willing to hang the slightly shonky reputation behind the Love Live name these days, because frankly I just need something I can rely on, something that’s gonna be there, something that I know and trust. But given my on-again, off-again relationship with the whole charade, is renewing my interest in the thing really going to amount to anything in the end? I’ve flip-flopped from when mu’s was still a going concern, to when Aqours took the wheel, from when Nijigasaki was still ‘Perfect Dream Project’ to when SIFAS proved not to be the silver bullet its years of development suggested it could be, from Liella’s arrival on the scene and their glorious rise to its seismic shift to a nine-girl group. Can my pride take another pivot back towards favouring it? …Well, that’s the thing. Sometimes you’ve just got to try these things and see where it takes you. It is written. For the good of my interests, I must go Love Live. And I must go for all of it.

The 32 seiyuu bracket, featuring what they’ve all done this week – Musings #12

There’s something to look at from so many of my favourite seiyuu this week, so we might as well start with the biggest. The D4Fes last weekend.

I’ll be honest: I was worried about this one. I was expecting it to invoke the reaction that sums up the series at large of late: ‘mid’. And the first day did nothing to ease those fears. Hapiara was, of course, always going to be pretty tragic given the absence of Non-chan, who seems to be under the impression that the stuff Rei does is not what she signed up for. No matter how much the rest of them, like Chinharu, tried to save it.

Still, at least things then got worse. Photon Maiden shoulda been the real start of things, except their set was pretty scuffed, speaking to the lack of rehearsal time you’d expect from a group that rarely gets together. And then, in typical fashion, they started breaking the equipment. That forced a long delay before Lyrical Lily, whose setlist was another hotchpotch, setting the tone for a lot of the mixes that were set throughout. Frankly, the most interesting thing they’ve done since actually came this weekend, when they cropped up on a different show and just happened to be alongside some huge names.

Yuka Iguchi, Haruka bloody Tomatsu…Rikako Aida, even. Oh, and a certain Ayaka Ohashi, as well. Fair play to them there.

Thankfully, the rest of them picked it up afterwards, probably helped by Kotori Koiwai coming along as Michiru and bringing the hype. Rondo was their usual solid self, and then came Merm4id, the group that has, by and large, been carrying the series of late. Can’t wonder why…

…Must be the music.

That’s not really a joke, though. Their heavy beats are easy listening and classic rave material. Thank goodness they are more than available enough to keep giving us good content. And Peaky P-key gave us the glorious return of Aimi on a live stage, after her extended period of time out. They went down a storm as well, as they tend to do. The finale began with LynxEyes, which gave us a chance to take in EZ DO DANCE, Raychell’s gloriously overblown voice, and the undeniable prettiness of Hinako Umemura. I enjoyed it while it lasted, whether others did is another matter entirely. And that left us with the rest of Call of Artemis. Except it didn’t, because they simply cut the stream before they came on. It’s more than likely this had something to do with Nana Mizuki, a person obviously too high-profile and upper-class for mere streams. That was probably in the contract when they signed her up, except it also denied us the sight of Arisa Komiya as well. In the event, though, they were just rehashing other hits LynxEyes had done, so we weren’t missing much. That’s the problem with trying to incorporate the biggest name imaginable. As Bushiroad should know to Bandori’s cost. You can’t give them new content to save their life.

Luckily, day 2 was much better. That’s thanks to it having all the usual day 2 perks: more polished, more presentable, tighter, better. People getting much more into the groove and all that. It helped most of all that they moved Photon Maiden down the order, rejigged their set and turned it into something far worthier of their inherent greatness. They wheeled out all the best hits, and there was even time for me to realise how good a cover of theirs was, in Getcha!. Mind you, the version in Groovy Mix doesn’t give any indication how good the full cover is at all. On that note, I’d love to see it on a Cover Tracks album soon.

Oh, and Amita was, of course, stunning, as always.

She hasn’t given me much to take in all year, but now… I’m satisfied with this.

All in all, a good effort, at least on day 2. But it certainly didn’t feel as special as this time last year and the series still feels like it needs a proper kick up the arse. But it’s hard to see where that’s gonna come from with what they’ve left themselves with. Truthfully, Bushi might be fighting a losing battle with this. It’s tried to ride the success they earnt with Bandori, but that may prove to be more of a one-off than they realised. (I suppose Revue Starlight should be chucked in there as well, that’s played its part here as well.) D4DJ has the potential to go further, but it’s possible that, while keeping its close ties with Bandori may have given it a degree of comfort in the short term, it’s left it with little room for expansion in the long term. There’s new talent in there that’s interested, but it’s the old talent that’s the concern. There’s not much more ground for them to tread, and you wonder if they should have gone for a full iM@s/Love Live-spec refresh. You didn’t see Shinymas sharing seiyuu with anyone from CG or ML, after all. But it’s too late to go back on that now. They’ve got to stick with what they’ve got. And they’ve got to push harder with it, and try and get more of its cast to commit. And shake up some of the music they’ve got a bit. Else they’re gonna be stuck doing a hundred Roselia and RAS lives every year, and nothing else.


Iris are continuing their tour, and this weekend was a big one as they’re in Tokyo. So I’ve had more reason than usual to pay attention to them, especially as they actually streamed this live. I watched it on archive, as to watch it live would have meant 6 hours straight of action for me, which would have been a little much given it started from 8am. And I’ve had a four-day weekend thanks to Her Majesty, The Queen, and used all three days prior especially well.

Anyhow, the big news from this was in fact the news of their future plans. Not least their big 10th anniversary live.

That’s gonna be a big one on the list, and much like I did with their last anniversary I will be streaming this one, 100%.

They’ve also moved to announce their next single.

Man, they look fierce in these shots. Moving away from the colour theme they carried with their former bandmate Azuki Shibuya has really seen the group turn on the style of late.

Maybe that’s reflecting in how the individual members have been vibing of late. They really have been enjoying their week back in Tokyo, it seems.

I do like how they show themselves with makeup-down from time to time, like Seriko does there. Himi’s not afraid to do that either.

Mind you, it’s not like anyone cares about that with Miyutan.

It’s always good to see her in action with Iris, though. Given she’s the most elusive member of the group now. And it’s always good to remember what the group’s all about at heart.


Now, what about the next person down on my list, Suzuko Mimori? Well, her news this week was the biggest of the lot.

It’s at this point I’d like to bring your attention to a little something I slipped in way back when I first did some musing.

This has led to some speculation on just what might be up with her life and whether something’s given her a genuine excuse to take the plunge. But let’s save the gossip for Hello! Magazine. Or, as the Japanese call it, Bunshun.

Those speculators knew what they spoke of. She’s pregnant. The most celebrated couple in the business – Mimo and Kazuchika Okada – is bringing a child upon us. It is due in August. The genes are going to be absolutely insane. I give my hearty congratulations to both of them, as indeed has everyone else. All the best to her for the next couple of months.


I thought that, thanks to Her Majesty, The Queen, my Liyuu PB wouldn’t be here until next week. Imagine my surprise then, to find it turning up on Friday.

And it is a magnificent work indeed. It’s everything I hoped it would be and more. I love so much about it.

There’s nothing too overdone here, just a lot conveying the essence of Liyuu. A soft, sweet self with a feel of vulnerability about her. The sort that makes you want to protect her, absolutely and utterly. She’s just a wonderful person.

That shoot of her in that outfit on the front cover is especially magnificent.

Funnily enough, one of Nagi’s best shoots came in a very similar outfit. Although it looks like they’ve used the same size shirt for Liyuu here. That’s why it doesn’t fit, evidently.

That isn’t the best outfit she has, though. That lies with the one she’s wearing on the back cover.

That shot of her in the hoodie is my absolute ideal of her. Just give me that in person and I’m set for life.

But she’s not just an adorable angel. We know from her back catalogue that she’s not afraid to go a little more risque. I wasn’t sure this PB would have much of that, though. This belief proved unfounded.

That first picture might be my favourite of the lot. It had me hooked for a good minute on first viewing.

It was the announcement for this PB that really got me hooked on Liyuu in the first place, and I’m so happy my passion has been vindicated in this way. She’s proven herself to be a great seiyuu, she is a natural-born in front of a camera – both in stills and on recordings – she is genuinely one of the best solo singers I’ve heard, and the way she fights through her little stumbles here and there in Japanese is so admirable. She is such a precious being, and I’ll always love her wholeheartedly for that. For as long as she goes on.


Liyuu’s not the only seiyuu who’s released a PB of late. Though the two who’ve got in on the act this week were not two I’d have expected.

It’s Haruka Yamazaki and Azusa Tadokoro, of all people. And the photos they’ve taken were done by…each other. (Nagi did something similar with one of her buddies for her last PB, as well.) Both fine and beautiful seiyuu, but photoshoots of the two have pretty open-ended expectations. So what have we gotten here?

Well, Pyon’s is a rather conservative affair, as can be expected from the best mate of someone as relentlessly traditional as Aimi. Her highlight might be the cover on that double package, to be honest. It looks like she’s just been woken from a slumber and correspondingly looks pissed off.

Koro, though? Hers is a revelation. And not just because that cover shows more shoulder and back than you’d expect.

First of all, a fleeting return to ‘long hair’ Koro, courtesy of a wig from the (incredibly well-versed in that sort of thing) Pyon. It’s been so long since she had anything like this that it’s like a look into an alternate universe at this point. It certainly is for me, as she went to short hair not long before I first discovered her. So I’ve only really known her with that gorgeous short bob of hers.

This is nothing compared to the second half, though. She’s donning a wholesome Minnie Mouse-esque outfit – another nod to Pyon’s interests – but it’s got a kinda flirtatious feel to it, for Koro. And no wonder, when you see where the photo ventures…

If I hadn’t seen it, I wouldn’t have believed it. Of all the seiyuu to give these kinds of flashes, Koro is pretty far towards the bottom of the list. Yet here she is, throwing away all I thought I knew about her. Remarkable.

When this dropped, I saw people coming out to sing all kinds of praises for her, from her previous work to her genuinely brilliant solo work, including some of the best songs from her album. She’s made more than a few waves with this, here. But then we knew she was a Waver all along.

And so I shall happily slot this into my growing Kindle collection.

One day, it won’t have Arisha and Rikyako outnumbering the rest, I swear. Though I don’t mind if they do. Not at all, while they remain the riskiest of the lot.


I’m violating my clause to talk about Liella again, but there’s a good reason for it here as well. This weekend is the last we’ll ever see of the group in their original five-girl incarnation – at least, in a full-on live. (They’re part of a couple summer festivals, and who knows if the new four will be there too.) And I decided to see it through to the bitter end. Yep. I streamed it for myself.

Even if they hadn’t developed that much new material in between their first and second live tours – there was only 2 months between them, after all – there was still stuff in here that was genuinely compelling. The solo section for each of the five band members wound on the emotion, and showcased the five members’ individual brilliance. Liyuu was simply sensational doing Mizuiro no Sunday, including the incredible oshicam umbrella. Nakonako was vibing all the way in her solo. Sayurin brought her powerful voice to the party, and she definitely feels like she’s improved since the 1st live, toning her voice down at the cost of a little accuracy in places. Then came a simply perfect acoustic version of Tiny Stars, which was the most emotional of all. Nagi-chan broke out the ballet for two straight songs, always an absolute treat. And then Pay-chan reminded us all of her sheer brilliance with the most energetic performance of them all. She’s definitely one who relishes the limelight. That led into perhaps the group’s biggest banger of them all, Nonfiction, which coupled with the outfits and lighting to make something spectacular. That would eventually build up to them running through all sorts of their more classic, conventional songs. These are as clear a sign as any of the improvement that’s been made with Love Live’s music over the years – they’re all good to take in.

All this was done in the midst of standard talks and laments to their characters, their experience, Liella itself and in the end to the fans watching in Osaka and those on the live stream around the world. Some of these were more emotional than most. Sayurin was getting rushed off her feet from the start. Liyuu got emotional talking about her dreams being realised, as is her wont. She was tearing up at the very end as well as they left to go off stage too, but before that Pay-chan had been feeling it as well and even Nakonako was crying her eyes about in thanking the fans. God knows how Nagi manages to steel herself up so often. She’s a little miracle. I can’t even envisage her like that, frankly.

This is a very heartfelt group, without a doubt. The colour and the emotion pouring out of them is intoxicating. To get even a couple of members in a group with this quality would be more than enough. To get an entire fivesome of them is nothing short of remarkable. Some more emotion may have been on offer, given this was the end of the 2nd live tour. Some of it may have been down to them knowing this was the end of an era, no matter how short it was. And it’s here that, once again, you have to ask: why change a formula that doesn’t need fixing? The chemistry and feeling between this group is tangible beyond belief. In their heart of hearts, do they feel the same way about having four new members to take on board? Somehow, I think that might not be impossible.

Obviously, we’ll get flashes of Liella’s original self throughout. After all, in the series of fan meets which will see the new wave introduced, there’ll still be songs but not from the newbies. But this feels like the last real chance we’ll have to witness the lovable original group in full flow. The next season of the anime is due next month, and that’ll get the new members integrated for real. So, unless I have reason to otherwise (which I probably will…ooh, next week), to Liella, for now, it’s goodbye from me. And thanks for all the joy and pleasure dished out from the very start.


This isn’t something I’d normally chuck in, but there’s a few people I know who’d be thankful for it, so I might as well.

It’s about the idol group Dialogue+, who’ve been hooking more than their fair share of people in of late. That’s because they’re offering good, value for money lives, with quality J-pop and 8 members to enjoy. They’ve already landed their entirety in a series, Cue!. Think Iris and you’re along the right lines. Sadly for them, my interests are already filled to the gunwales, and their music, and indeed all the members – with the notable exception of the genuinely interesting Satsuki Miyahara – feel too generic to get me intrigued.

They have got an interesting idea for their recent series of lives, though. That’s because they’ve invited numerous other groups to them as support acts. And the most recent one this weekend included one I happen to have heard of, and really enjoy.

That’s #Babababambi, and they have as good a range of members from a pure idol group I’ve seen yet. Among them is Miyu Kishi, who is both tiny and an impeccable gravure idol, Saeko Kondo, definitely one of the cutest idols I’ve seen, and its most popular member Mio Minato, who’s been good enough to earn her own PB. But my favourite is perhaps the most unsung member of the group, Ikeda Meruda.

A half-Japanese, half-Indonesian, she’s straight up beautiful and at least as good as the others when it comes to gravure. She was my idol oshi fleetingly, but that was kinda half-hearted until I found my actual idol oshi. So now she’s very much my idol side chick. And I’m happy to keep her there. Even if you’re very much not supposed to do that with idols. But then I’m a man with a top tier of seiyuu that theoretically stretches 31-deep. (Though in actuality, it’s more like five or six. And even then, none can compare to the top one.) So Ikeda’s very much here to stay for me.


I’ve got to chuck something in gaming-wise. Specifically, some of it’s to do with Overwatch, which is getting a so-called ‘sequel’ at some point, except it seems weirdly integrated with the current incarnation which is leading us all to believe it’s merely an actual upgrade on the original, spun as something different to get some life back into it. I mention this as it’s about the only thing I’ve really been able to play this week – as you can see above, time has been horrendously tight this entire week. So having some life back into it, even fleetingly, might be something to relish for a time. But then weeks like this make you realise you sometimes don’t really need games to carry you over the line. And hopefully the rest of this month should be easier for me. Especially as I have an entire two-week period off work coming up. Apart from the bits I’ve already planned to do outside there, I can work on whatever I want in the meantime. So we’ll see if something captures me over that time, but until then, finding a game to really interest me has stalled, big time.


There’s something else I’ve been inclined to do gaming-wise as well. You won’t believe this, but I’ve been obliged to actually play some Starlight Stage.

This is the card that’s prompted my brief return. It’s an event Kanade SR, and it obviously looks great. But I have to get it because she remains the one character I love who I maintain a 100% record on having cards of. I came back to try a couple of rolls for Mika6, and didn’t get her, so knowing me now I let her go. Then I did much the same when Minami6 predictably didn’t come home either. So my perfection has gone for both of them. Even D4DJ’s Ibuki Niijima (who, apropos of nothing has a card to roll for in Groovy Mix right now herself – it really is that sort of week for me…) let her recent birthday card slip from my fingers. That leaves just Kanade, after her sixth SSR gave me no such troubles, as the last girl standing in this regard. I suppose that was inevitable. If there was one girl who I was always going to maintain a complete collection of, it was going to be the best of the best. I love her, she loves me back.

The good news is this event is Live Parade, a format I’m more than familiar with and which hasn’t changed since I last had to touch it. The bad news is that it takes forever to play the game and get an actual event card. And even worse is that a lot of the early missions here can’t be autoed away. That means I have to actually play the game, which means changing offsets, turning off voices (not as big a problem as it used to be after playing D4DJ for so long, but still) and rediscovering the ability to play, say, a 26. Or I could play the game soundless. I’ve been resorting to the latter a lot as most of the songs being boosted over the course of the event have not exactly been corkers to me. Therefore, I haven’t been doing much playing of this at all. I know exactly what it’ll come down to. I’ll be forced to grind the hell out of it Tuesday night (the last point at which I’ll be able to play it), barely scrape getting this Kanade and I’ll be reminded of why I got the hell out of there with this game in the first place. The time investment required when you’ve got so much on your plate to worry about is just humongous. That element of the game will not be missed when I’m done with this. But at least I’ll be happy to say I still have a full collection of my favourite character of all time. That was my ultimate goal with this game in the first place, and for as long as that goal remains complete, I can sleep easy with Starlight Stage.


Finally, you can expect a seiyuu sorter update in the coming week or so. But how that will manifest itself is as yet unknown. The bare minimum will be an additional four seiyuu (you know who they are), but there’s a new feature or two I’d like to incorporate for everyone to use and explore. All I have to do is find out how to add them in… If such a thing is even possible. I’ll be gathering advice from others on my plans, needless to say. And if it comes up trumps, well… You’ll be getting more than four seiyuu added, that’s for sure. In fact, I may never need to add another seiyuu again. But let’s not say too much while I don’t know if my ideas will be possible or not.

As a preview of what might, or might not, be coming, try and imagine what your result for this bracket would be. And since my taste will never account for 100% of yours, chuck in your own oshi at the end of this one.

Seiyuu are all in alphabetical order here because that’s how it decided to stick them in. Oh, well, you just have to go with it. Like it’s the FA Cup draw. No room for seedings round here, you’ve gotta beat the best to be the best.

The Freddie Mercury of the seiyuu world – Musings #11

1. It’s the big one for D4DJ this weekend – the good old D4Fes.

The title of the live, All In, was intended to hint at this being the first live in the series’ history to feature the entire cast, largely on account of finally managing to book in the most famous name on the roster, Nana Mizuki. Well, that was the idea, anyway. Turns out we won’t have a full cast after all, as Kanon Shizaki has pulled out for health problems. Some scepticism has been raised as to what exactly these health problems are. Certainly, the ones she had at the start of the year didn’t stop her turning up to Roselia last week. Others have noted her lack of appearance at any rehearsal for Happy Around, nor any post to do with D4DJ whatsoever (plus what she is actually posting on social media), and questioned her commitment to the cause. In that case, so much for someone I’d given the benefit of the doubt. She hasn’t been at a live for Hapiara since December last year, by the way.

That makes her more elusive than the previous incumbent, who was Ami Maeshima – the sole absentee from the main cast for the last big group of lives in December. She’s back this time, mercifully. And thank god she is because she’s the main reason I’m paying attention to this at all. I didn’t even give December’s live a look because of that. Photon Maiden is the series’ best group, but Photon Maiden without Amita, to me, is like Queen without Freddie Mercury. Not even nearly the same. So I am very much looking forward to seeing her in action.

Of course, all the groups have their big highlights and people to pay attention to, and they’re sure to bring out some of the biggest belters of the lot. The problem is I’d have to haul my arse out of bed at 7am to watch it live. Am I going to be able to do that? Well…probably not. But as long as someone pings me when PM are on, that’ll be fine by me. And, of course, we have two days of this, this time. How much they’ll change the setlist up between the days is open to debate. They usually haven’t changed much across multi-day lives in the past, but they may be more flexible here.

Either way, it’ll be good fun on several levels. Peaky P-key will also have some awesome music, and it’ll be good to see Aimi properly alive and well after her recent extended break. Photon Maiden should speak for themselves, but in terms of reliably good music and performances it’s actually been Merm4id that have come up trumps best of late. They’re gonna be a real highlight, I suspect. Rondo will have seiyuu to enjoy, if not music. Lyrical Lily are nice and well-rounded. And I for one can’t wait to see what Call of Artemis will bring to the table. They’re going in with two of my four favourite seiyuu to start with in Arisa Komiya and Hinako Umemura, and of course they are finally presenting the one and only Nana Mizuki herself to us. They may come out looking the best of the lot, to be honest.

Hopefully I get the best out of this two days’ worth of lives because my love for D4DJ, so prominent this time last year, has flagged in an almighty fashion since then. It’d be good if it comes up trumps because, as I may have mentioned a thousand times in the past weeks, I’ve got a hole that needs filling. Now would be a very good time for the series to kick itself back into gear once again and get cracking on realising the potential it has.


2. Look what’s come out this week.

Yes, the whole damn thing that made me fall for Liyuu in the first place is finally here. I don’t have mine yet, obviously. But this gives a good sneak peek into the more contemporary pics we can expect.

The friskier stuff will have to wait, but then it’s already been previewed and hinted at throughout. So I’ll let you know all about it next time. Provided I’m not spoiled on it beforehand.

The other twin peak of future seiyuu is spoiling us, too.

She wants us to pretend she’s our girlfriend, god bless her. That brings us back to Young Jump, and their pertinent description of Nagi from her own first PB.

Mind you, the way they spin it makes it sound like she was bionically created for the purpose. That’s how seiyuu works, isn’t it? Most of them are too good to be real, after all.

Seriously, though. Has anybody else ever been catered so perfectly to the mainstream? The work she’s getting leans into this, so clearly. Her combination of personality and looks is utterly irresistible. We’re all in safe hands for years to come, everyone.


3. Steam have thrust a weekend sale upon us, which has given me the perfect excuse to cover off a number of purchases from my wishlist. That includes No Man’s Sky, a game I touched upon trying once it went on sale, which it has done here at 50% off. That’s enough to make me bite, and so I’ll be trying that out this weekend. Well, that’s the plan. I may not have enough time to do anything meaningful with it, but I should have some on Saturday night, really. There may yet be time for a couple of the other games I bought as well, but space on my laptop is at enough of a premium that I can’t actually fit them on there. Which does make a slight mockery of the money I’ve spent on them, no matter how on sale they may be. Twas ever thus, with a number of games sitting in my Steam library. I should get round to trying more of those too, you know. For now, though? Still Cyberpunk (goodness at the game permitting) and No Man’s Sky up front, for me.

10 hours of pure, unfiltered, frenzied seiyuu action – Musings #10

1. So. Bannam Fes. We’ve got some performances to get through here. The whole gang under their wing was rolled out for this one, and so I’ve run through the lot of them. And you can too, if you want, all 10 hours of it. Provided you have a VPN to put you in the right place.

You have to be in Korea for the first part, and Japan for the second. Don’t you love copyright rules?

Anyway. Here’s what we got to witness, in order.

Saturday

Million Live: Regrettably, for someone who came within a stone’s throw of getting into Million Live once upon a time, I haven’t touched much upon its music. But then they had a good clutch of performers on hand here. Admittedly, miraclesonic★expassion isn’t really one of them, even though it had the VA for the wholly decent Noriko. But Hanasakuya was very good, having Yu Kahara, voice of the likeable Emily Stewart, Kotori Koiwai, who is always quality, and the properly gorgeous Minami Saki (or, as I called her once before, Mina Misaki). But pride of place really had to go to Strawberry Pop Moon, aka the holy trinity of Million Live. And that goes for both the characters and their seiyuu. Truly, Haruka Yamazaki, Azusa Tadokoro and Machico is a trio that stands as the best that iM@s has, and possibly the best any franchise anywhere can call upon.

The funny thing is, they’ve all been my favourite of the trio at some stage. Machico was when I was falling for her character, the best in ML, Tsubasa Ibuki. Then Pyon was very much at the forefront when I was still getting into seiyuu properly, but now I think Koro is the best of them. She’s just such a sweetheart. They’re all great in their own, special way though. Machico is still absolutely top notch when singing as Tsubzy. And there is an alternate universe somewhere in which Pyon is still my #2. That time has passed for her now, sadly. Maybe I have a little regret for ditching her in the way I did back then. But I’m fine with her now. What will be, will be.

Liella: Baby if you’ve got to go away
Don’t think I could take the pain (Stay now)
Won’t you stay another day? (Stay now)
Oh don’t leave me alone like this
Don’t you say it’s the final kiss (Stay now)
Won’t you stay another day? (Stay now)

And so, as Liella enters their last throes as a five-woman band, I must sit back and watch them again, for I must bottle performances like these and remember them for as long as I can. And they got six songs in, which is more than quite a few other franchises got throughout the two days. They got the big hits in, too, the best and most banger-ish of which was, of course, Nonfiction. Which reminds me that I caught the girls on my actual telly once, when they were on NHK World. It’s true.

The five of them here? All brilliant, naturally. But then you knew that already. So brilliant you even forgot about what was happening to the group. I just wish everything they do now didn’t have that undercurrent flowing through it. I hate to keep banging on about this, but the togetherness of the current group is absolutely unrivalled. Did you see them all meeting up and getting together for Nagi-chan’s birthday on Monday?

Fantastic, unbelievable. This is a group whose unity feels as utterly genuine as any I’ve seen before, and that’s what makes them so special. We’ll have a year and a half’s worth of their work to look back on in this regard, but frankly, I will always believe that to sully the group’s chemistry with four extra members is a terrible waste. Still, we can’t undo their decision. I have to move on and find something better. Put them out of my mind, as I have been trying to since the announcement was made.

Then I see them all together again and I have to go off and cry a little.

Half of Nijigasaki: This festival actually managed to get each of the members of Niji in for at least one day, with the exception of the perma-crocked Tomori Kusunoki. So that was a feather in its cap, especially given some of the names they were asking to come along. Saturday had the entirety of R3birth, plus Agupon and Kaorin thrown in as well, giving us five very likeable seiyuu indeed to follow along. Best of all though had to be Shu ‘the Japanese Kylie Minogue’ Uchida, one of the best in the group on so many levels. And they got the always rather fun Tokimeki Runners in to this live as well, one of the most quality ‘standard’ Love Live songs they’ve ever made. So this was certainly a very good day for them.

Aikatsu: I have been aware of Aikatsu for a while, but needless to say I am not its target audience. There are actually quite a number of seiyuu you and I have heard of in the series, but sadly most of them weren’t really here. There’s someone I recognised out of Denonbu, Ibuki Kido out of ML and…that was it. That is, until Koro showed up as a surprise guest during their two-half performance – yes, they got two separate segments of four songs each. That made her one of the only seiyuu to do double duty across one day (a couple did two roles across both days). What a wonderful cutie patootie she really is.

Misono: I can’t say I was terribly familiar with Misono’s work before this. That’s because her chief work on display here was from the Tales series. And I’m not terribly familiar with that either. Truth be told, her history looks like something of a catastrophe, with hiatuses, threats of retirements and even the dreaded health problems kicking in somewhere, but she seemed decent enough here, at least.

Starlit Season: Here we got two songs from Idolmaster’s recent cross-franchise release, from the in-house branded Project Luminous. That featured a couple of the 765Pro idols, and it was a good pair – the always lovely Eriko Nakamura, and the also excellent Hiromi Hirata. They chucked in two prominent faces from CG, Marie Miyake aka Nana Abe, plus Hiromi Igarashi, voice of Anzu Futaba. We got the Osakis out of Shinymas, plus Starlit Season’s original character as voiced by Aimi Tanaka. And Pyon was back! A bit of an eclectic mix, but with numbers like this it was going to sound exactly like every other big-numbers iM@s song ever. And so it turned out to be. That’s fine. They do that kind of thing better than anyone else.

BACK-ON: Another band I wasn’t aware of before this, if I’m honest. This one’s pretty interesting, though. They’ve got some solid franchises on their record, such as Fairy Tail, Initial D, Eyeshield 21 and Gundam, the lattermost of which they performed here, plus a couple more Tales songs. To be fair, most musical acts in the country have probably done something for Gundam by this point, given it has reams and reams of songs in its back catalogue. But Back-On probably have more than most in that regard. I enjoyed what they presented here, certainly. A properly solid rock band.

Denonbu: I feel like I really should be talking about Denonbu more than I do currently, but Bamco have got it into a bizarre little spot right now that means I can’t drum up quite enough interest for it. There aren’t a great deal of characters, just 12 at the moment (though there are 3 more due soon), but they’ve built up a good solid selection of songs for themselves. Trouble is, there’s little of substance beyond this so far. There’s no plans for a game, no plans for an anime, nothing big in the works of yet. In fact, the most prominent thing they announced of late was an NFT collection which, inevitably, had the EN community up in arms and filled with righteous anger. Forgetting, perhaps, that the craze was past its prime already and introducing them at this stage would mean bugger all. Especially as Bamco have not been particularly receptive to the overseas community at the best of times. The reaction was probably met with confusion, coupled with indifference, on their end, more than anything.

The shame about this is that the live performances they put on are genuinely pretty cool. This live brought all bar one of the groups to the party, with the only missing one inevitably being the VTuber group – and thank god for that. That left us with the nine remaining excellent seiyuu. From Akiba, Yuuka Shidomi is a real sweetie, Miho Amane has top quality vocals and Sena Horigoshi voices a likeable character. Harajuku got to perform the best of the songs, a reworked version of Hyper Bass, and them having the adorable Nichika Omori on hand is always a treat. But Azabu remains my favourite of the groups, having Little Miss Crosseyes herself Akina on hand, plus the series’ two big aces in the hole: Arisa Komiya and Azuki Shibuya. The former is obviously magnificent in all areas, and the latter really cares about this. You can’t fault a good bit of passion anywhere. And to Denonbu’s credit, it had that in spades here.

Cinderella Girls: Obviously, they were never going to wheel out a huge mass of the Cinderella Girls cast for this, given how many there are and how little time they had to work with. But the small cross-section of the franchise they did manage to get it was still a great advert for the series as a whole. They had the new gang of voice actors from the last election, whose song is always good fun and includes the properly wonderful Yui Ninomiya, they wheeled out Shiki and Asuka’s VAs for Babel, which remains one of the all-time greats, and they had Triad Primus in its entirety here – possibly to make up for Matsueri being unable to attend the 10th anniversary live – to sing their absolute classic, Trancing Pulse. And they chucked in GOIN’!!! as well, with the previously featured seiyuu of Nana and Anzu thrown in as well for good measure. If you had to ask me to try and sum up the essence of Cinderella Girls in just four songs, this wouldn’t be far off what I’d go for. Although PassionPs might be left feeling a little bit short-changed, given they featured a whopping zero idols from that type. Oh well.

Sunday

Shiny Colors: The general fandom’s pet favourite corner of iM@s at this moment in time featured in almost its complete entirety here, with each one of the seven units getting a look in here for the longest showing of all the franchises present here.

We had Noctchill, which gave me the opportunity to look at the seiyuu for two of my favourites (Toru and Koito), while everyone else was busy looking at the universal favourite for the entire series (Madoka, and her almost too-well-fitting seiyuu Rio Tsuchiya). Shhis came up with OH MY GOD, which is genuinely one of the best songs that Shinymas has, even though it shares essentially the same name as another banger from D4DJ’s Merm4id which was unveiled at pretty much the same time. Its greatness also failed to distract from one of their seiyuu, Aya Yamane, who has eyes so wide it looks like she’s constantly on speedballs.

Houkago Climax Girls were unfortunate in that they were the only one with a seiyuu missing, and it was their best one as well in Mariko Nagai. But after them was Straylight, the group featuring my favourite style of music and my favourite character of all, Mei Izumi and her delectable seiyuu, Sayaka Kitahara.

Illumination Stars being together, even for only one song, was particularly poignant, given the recent travails of the beleaguered Reina Kondo. But Hitomi Sekine and Mayu Mineda are both top-notch seiyuu in their own right and it’s always magnificent to watch them regardless. Alstroemeria featured the lovely Chiyuki, as voiced by the lovely Noriko Shibasaki with her lovely, dulcet tones.

But L’Antica, as is their wont, were perhaps the highlight. Littered as they are with at least three properly good seiyuu in Karin Isobe, Chisa Suganuma and Anna Yamaki, plus Shio Kisui, guaranteed to be a fan favourite for life given the manner in which she came into the franchise. They routinely come across as the best performers on a live scale, as well, and so it proved here too. Obviously, given all this, Shinymas definitely came across as well here as it has done pretty much right since its introduction to the world. It continues to go from strength to strength, with a level of popularity at this moment in time topped only by Uma Musume. You need only see the level of fan content it continues to attract to know that.

SideM: My only real exposure to SideM to date came in the form of the sorter I jokingly made for myself to try and figure out just who the hell I’d like most of all based on nothing but the card picture its creator used for them.

The good news for me was that Yukihiro Kamiya’s seiyuu, Sho Karino, was indeed present. He didn’t appear baring his chest in a half-put-on shirt, sadly.

Actually, there were a hell of a lot of the series’ seiyuu making an appearance here, adding up to quite a considerable run for the SideMen. The most famed man there though was actually a woman, that being Yuko Sanpei who is of course behind the original male iM@s idol, Ryo Akizuki. Good to see her there, for sure. This was something different on the whole, as you can imagine. And most likely popular on the side of the culture I’m not on.

Kankaku Piero: Never mind the other ‘normal’ acts from before, this lot are even more of a mystery wrapped in a riddle for me. They do have on their record though the themes of actually quite good anime Black Clover. Oh, and more Tales songs. Which is what they did here. The difference is, they stayed on to do a final collab with four of the SideM groups and their big-name song, Beyond the Dream. So that was nice.

The other half of Nijigasaki: Here’s where the other members of Niji got their moment, and while Sunday’s six that performed here were less well-rounded than Saturday’s five, it did have the best two in the franchise, Akari Kito and Miyu Kubota. Truth be told, there aren’t any real weak spots among the twelve seiyuu in Niji, which is a pretty sensational achievement when you think about it. Best of all here was getting not one, but two songs from DiverDiva, as Miyutan was joined by Nacchan to present their powerful duet, not least with the immense SUPER NOVA. And this group had Tokimeki Runners chucked in at the end as well for the hell of it. So Niji can definitely hold their heads high with what they presented to us here.

Five Stars: Here was the time to flex the other cross-franchise project iM@s has on the books, which is Pop Links. They had a cast not too dissimilar to the Starlit Season section the day prior, given it had the same pairing from 765Pro as them, but this had even bigger names on the end of it. Pyon was back again, as was Minami “Mina Misaki” Saki. They roped in a couple from SideM, plus a magnificent Shinymas pairing of Hitomi Sekine and Noriko Shibasaki, and threw in Frederica Miyamoto’s seiyuu, Asami Takano, on top… Oh, and a certain Ayaka Ohashi, too.

No wonder this turned out to be a real highlight of the festival for me. There’s no weaknesses in among that lot. That is a genuinely immense group they gathered together here. And they went and sung the truly wonderful Voyager in there as well. This was definitely the biggest surprise of the lot. But then, was it really a surprise? This was iM@s flexing its collective muscles… Of course it was going to be brilliant.

DEEN: Hey look, it’s another band I knew nothing about before this performing Tales songs. I suppose something like this happening was inevitable. There was gonna be something cropping up I’d know bugger all about at a Bamco concert, especially when they chucked in some of their actual video game series in. Personally, I would have gone with Ridge Racer songs myself, but most of them aren’t big on vocals so perhaps not.

Maybe I should have known about Deen, though. This lot are pretty big business as a normal band, and in Tales terms they’ve been doing songs for them since the second-ever instalment in the series. That may explain why I found them the most enjoyable of this bunch.

Aqours: Arisha was there and they played Thrilling One Way. That’s two of the four good things about Aqours covered, so that’s a resounding success by their standards in my eyes.

765Pro: Ah yes, the old classics themselves. They got eight out of the original 13 here, which is a good solid number to have present. The same great pair that showed on Saturday were here too, and with them this time were the always immaculate Asami Imai as Chihaya, the simply show-stopping Chiaki Takahashi as Azusa (my favourite, on both counts), plus the much-beloved Miki Hoshii’s seiyuu Akiko Hasegawa, Mayako Nigo and Naomi Wakabayashi, who performed Glitter together, and perhaps most surprisingly, the truly box-office Rie Kugimiya as Iori. And this lot are still as good as ever, even entering the group’s 17th year in the business. Can you believe that? Idolmaster would be old enough to buy a drink here next year. It is, quite simply, a phenomenon. We’ve seen others try to emulate it, but it’s still the granddaddy of them all.

Gundam: The finish was a surprise flourish. It was Gundam again, which I don’t really care about (yes, I know, fucking sue me). The difference here, though, is they wheeled out someone I did recognise – the one and only Takanori Nishikawa, aka T.M.Revolution. And he opened up with one of his best songs of all, the utterly glorious Invoke.

If there’s one Gundam song I could name, it would be this one. It’s a belter to end all belters, and was the best song anyone played here. The man’s a legend, I’m telling you. He did another three from his own Gundam selection to finish up, and with that, it was all over.

Overall, a resounding success, I’d say. I’m glad I was able to watch this back, not least because I missed the live stream and indeed the announcement of it, though given the hefty price I’d have had to pay for both days that’s probably a good thing. This one had a little bit of everything, but after watching back such a lengthy live I can’t say I’m lived out yet. That’s because I’ve got D4Fes to watch next weekend… And that’s gonna be another long, long list of bangers to take in. Bring it on.


2. News of another event’s lineup passed through my Instagram feed this week.

Spot the most incongruous entry if you can.

Yes, that’s right. Alongside some actual huge musical acts is none other than Liella themselves. It’s like when the hallucinations start kicking in after licking some magic paper.

As I said last time, I know I’m not supposed to be talking about them any more due to the rule I made for myself, which I haven’t actually enforced. But… Actually, you know what, fuck it. Let me start enforcing it right now. And let’s talk about some of the other acts on this frankly rather extraordinary line-up instead.

The 1975 have the odd good song in their collection, to mask the fact they’re one of the more pretentious, wet indie bands around. There’s Maneskin in there, winners of the Eurovision before last and who actually openly joked about allegations their lead singer might have been sniffing cocaine during the show this year, which was wonderful. Maybe they could get ‘big’ Sam Ryder involved next year. There’s Rina Sawayama, a Japanese who’s actually British and who looks like no Japanese I actually knowingly want to meet. And then there’s the Libertines, who have actually headlined at a festival I was at before. Admittedly I wasn’t watching them at the time they were headlining, as I was busy on the dance stage raving to my actual favourite musician, deadmau5. I was more interested in the man behind them on the main stage actually, which was Kendrick Lamar. Him being behind anyone at a festival is a turn of events you can’t really imagine these days.

For the rest of Saturday, there’s The Offspring, a band whose one big hit I know and nothing else. Tahiti 80 is another band I’m subtly aware of, albeit due to a song I first heard in 2006. And, if this is all too ordinary for you, there’s another anime group in there, in the form of Bandori’s very own Raise A Suilen. They’re what you might reasonably call the prototype for D4DJ, which makes it all the more unusual that I haven’t exactly taken a real interest in them, especially as they have Photon Maiden’s own Risa Tsumugi on the deck. I know exactly why I’m not interested in them, though: because they’re one of about three bands Bushiroad can rely on from the series these days, and as a result they chuck them on live shows constantly. Which gets pretty old, pretty fast. And Bushiroad still asks a lot of money of people to attend. No wonder they can’t fill a damn live of theirs these days. They won’t get the choice of what price to set tickets at this time, though. Even then, though, Raychell and Natsume’s brand of hotness got predictable quickly. So, with apologies to Reo Kurachi* and especially the ever-out-of-place Riko Kohara, I’m not sold on RAS, and I suspect I never will be.

As for the other day, you have Post Malone topping the bill, who I remember being part of a big hit in late 2017, in and around the time everyone was listening to Despacito. Except me, because I was too busy listening to Hotel Moonside. The best song of his I know came to my attention through a Madden soundtrack that had an inexplicable number of songs that either mentioned or featured Nicki Minaj. Post’s was one of the latter. Speaking of Minaj, one of her expies is here in Megan Thee Stallion, though the last thing I can remember her doing is having her entourage attempt to shrug off Martin Brundle on the grid of the American Grand Prix. And Yungblud is someone who I’m convinced I’ve heard at least one song I like from, but it turns out I actually haven’t. Other than them, the only name that sticks out is Carly Rae Jepsen, who is somehow still going despite her one notable song being a decade old now.

I think, on balance, it’s better if I stay away from proper music. I don’t really know what I’m talking about with any of it these days. That said, an act better than any one of the names on this list did meet a fan of his today.

Thank god I can rely on Sumire “Sumipe” “Sumzy” Uesaka to swing me back on topic.

She’s another one who’s graced my actual telly before, too.

*The only seiyuu to share an exact birthdate with me. Coincidentally, that just happens to be today. Happy birthday to me, and her.


3. Gaming update. I’ve reached the bit of Cyberpunk where it actually ‘gets good’. But such is the way the story has gone that I’ve almost wanted to focus more on that. It’s the kind of typically chaotic affair that a lot of A-list productions manage to come up with these days, but it fits with the rough and tumble setting of Night City so well that it suits perfectly. Characters you think are gonna be fixtures for ages get fucked up when you least expect it, left, right and centre. You find yourself making buddies of guys who were out for your throat not long earlier. It’s all a wild ride, but what makes it most successful is how they nail the level of affection you feel for the characters just right. You get enough to fathom them out and find them quite likeable, but not to such a degree you’d feel absolute remorse over their demise. So when they get gone, you mostly find yourself thinking “Well…shit.” As if it’s kinda a shame, but that you inevitably know you’re gonna have to move on. And I’ve still barely scratched the surface here. It’s only around about now that things are really starting to open up, and thus the open world element is coming into it. It also helps that I’ve largely stopped being such a blithering idiot with the combat now, and am actually nicely on top of it. See, I can figure anything out if I just put my mind to it (apart from Touhou, obviously). I shall continue playing where I can – I would have done more this weekend, but time was horrendously tight, as per the above. Let’s just see where else this game takes us, eh.