UlasanAnime.com – This post offers a critical perspective on the popularity of Hatsune Miku, aiming to provide a more in-depth analysis than a previous article that the author felt was superficial.
The author begins by stating that the previous analysis, which summarized Miku’s popularity as embodying long-held anime fan preferences and being the best version of a “database animal,” was a weak explanation. The author believes there are three crucial elements to Miku’s iconic status that were overlooked.
One of these key elements is participatory culture. This concept, mentioned in the first comment of the original post, was notably absent from the previous analysis. Participatory culture, in this context, encompasses several interconnected ideas.
Firstly, Miku serves as an avatar for virtual idols, allowing fans to envision her as they desire. However, the author clarifies that Miku is a canon character, and her fanbase largely adheres to this established identity. A more fitting analogy is that of an entertainer or actor who can take on various roles while maintaining a unified persona.
This is contrasted with characters like Rei Ayanami, whose core identity remains consistent regardless of different attire or situations. In Miku’s case, her idol persona is largely consistent, with the creative freedom for fans to imagine her in different scenarios or “pretend” to be something else.
However, this is only one aspect of the first tenant of Miku’s success. The author argues that for Miku’s fanbase to be so unified, she needs a consistent core identity that also allows for diverse expressions. This is a departure from the previous model, which focused on Miku as a collection of elements.
The author posits that Miku has evolved beyond being a mere compilation of data. Instead, she functions as a “mirror” onto which people project their own desires and appropriate interpretations. The fans themselves are the “database animals,” expressing themselves through Miku. She was not initially designed for this purpose; rather, her design invites participation by leaving room for fans to imbue her with their own creativity and desires.
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Furthermore, the author notes that Crypton, Miku’s creator, did not initially commission her for this specific role; it has been a fortunate outcome.
The visual design of Miku does incorporate straightforward elements typical of a mascot. These are drawn from the same creative pool used by creators in Japan’s modern visual pop culture. Miku’s initial and ongoing role as a mascot is undeniable.
The idol identity, therefore, is largely a product of fans projecting their aspirations onto her. Given that she is the face of a second-generation vocaloid software, this development is logical and natural. The author also acknowledges that the software itself was user-friendly and facilitated the creation of music for many independent and amateur musicians.
The author briefly touches upon other aspects of participatory culture, such as fan behavior and the influence of online communities like YouTube (or Niconico Douga in Japan). The concept of “You are the TIME’s person of the year” from 2006 is mentioned as a precursor to Miku’s phenomenon, highlighting the growing recognition of individual and collective online influence.
The meme factor, both related to Miku herself and the music she is associated with, is also acknowledged. The author suggests that academic writings offer a more comprehensive understanding of these aspects and refrains from elaborating further.
The second and third factors contributing to Miku’s success are reserved for future discussion, as the author believes they were not adequately addressed in the previous analysis. The author expresses enthusiasm for exploring Miku’s phenomenon in more detail in subsequent posts, finding it to be a fascinating subject.
