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Published online by Cambridge University Press: 20 February 2024
Abstract: This chapter turns to idols groups and virtual idols specifically to investigate the different yet meaningful engagements between them and the audiences. Through analysis of collected ethnographic data, the chapter demonstrates how fans make sense of music and the world through the concept of reality – a concept often contested and contingent on social and generational actualities of the audience. Voices of producers, musicians and managers, also salient in this chapter, help demonstrate and theorise the characteristics of audience-performer co-evolution.
Keywords: idols, vocaloid, jimusho, co-evolution, fandom, industry
Idols and Their ‘Offices’
So far, we have discussed Japanese ‘idols’ (aidoru) as mostly teenage male or female singers and/or media personalities, who also frequently model for magazines and appear in promotional campaigns. But exactly who is and who is not an aidoru? Or more specifically: how do they differ from virtual idols, i.e., non-corporeal music performers brought to life with technological assistance?
‘Completely different’, says Taiki (‘the relaxed’, man) about the similarities between idols and virtual idols’ songs. Taiki explains that with the former, all you get are boring and predictable accounts of summer flings (presumably, like the one by AKB48 in the previous chapter), or narratives of having a secret crush on a classmate. ‘How is this different?’ I ask, pointing to the karaoke screen from which Taiki’s friend, Shōta, is passionately singing the lyrics of ‘Melt’ by Hatsune Miku (written by ryo and Supercell in 2007). The song is energetic, the lyrics seem typical of J-pop: a protagonist in love but unable to confess their feelings. ‘Wait for it’, promises Taiki, and so we wait, singing along with Shōta. When the song is over, I feel like I missed the answer, so Taiki helpfully recalls the last line of the song: ‘Hug me now! … or something’. I must still look confused, and Taiki explains that because of the last phrase (‘or something’), you can see that Miku, the singing virtual idol, was only half-serious throughout the song, when she sang about preparing for a date. She was not cute, naive or bubbly – ‘that’s not who she is.’ Taiki says that it was all a ruse to get closer to that boy she likes in the song, but Miku is not girly like that. And the cover’s blown in the last line.
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