The landscape of modern gaming is perpetually evolving, now poised for a significant transformation with the increasing integration of virtual YouTubers, or vtubers. This burgeoning trend, exemplified by recent high-profile cameos in major game titles, signals a deliberate strategic push by leading virtual talent agencies to broaden their reach beyond traditional anime-centric audiences and embed themselves firmly within the global gaming community.
A prime example of this emerging phenomenon is the unexpected inclusion of the immensely popular Japanese-speaking vtuber Usada Pekora in the eagerly anticipated “Death Stranding 2.” While game director Hideo Kojima is renowned for incorporating celebrity appearances, this particular collaboration hints at a much grander vision for the future of virtual entertainment within interactive media.
Motoaki Tanigo, the Chief Executive Officer of Cover Corporation, the parent company of the prominent vtuber agency Hololive, articulated this ambitious strategy in a recent interview. He emphasized that a core objective for Hololive is to introduce vtubers to a wider gaming demographic, transforming them from niche internet personalities into mainstream figures within the gaming landscape.
Hololive’s Japanese-speaking talents have frequently appeared in various gaming and media projects, such as Inugami Korone’s contributions to “Sonic Frontiers” and Hoshimachi Suisei’s musical performance in “Project SEKAI COLORFUL STAGE!” However, their English-speaking counterparts have yet to achieve similar widespread recognition within Western gaming circles. Tanigo aims to replicate these successful collaborations on an equivalent scale in the United States and other Western markets.
The CEO noted that the dramatic surge in vtuber popularity across the West has already diversified their audience far beyond solely anime enthusiasts. He believes that strategic partnerships, such as the one seen in “Death Stranding 2,” are instrumental in enabling Hololive to access a broader segment of individuals who might not otherwise encounter virtual content creators.
This expansion into the gaming sphere also necessitates a pivot in streaming platform priorities. Tanigo indicated a future emphasis on Twitch, a platform previously less prioritized due to its comparatively lower popularity in Japan. Having historically cultivated their fanbase primarily on YouTube, Hololive now recognizes Twitch as a vital channel for directly engaging with the dedicated gaming audience they aim to capture.
Looking ahead, Hololive intends to scout and cultivate more virtual talent specifically suited to playing games popular in Western markets, particularly competitive FPS titles. The overarching goal is to enable Hololive vtubers to build dedicated followings around specific game genres or titles, much like conventional Twitch streamers, thereby paving the way for lucrative sponsorships and multifaceted game collaborations. The prospect of seeing virtual idol skins or characters integrated into major titles like Call of Duty appears to be a distinct possibility, signaling a transformative era for both gaming and virtual entertainment.
