UlasanAnime.com – The author recently encountered a YouTube video from the Idea Channel, which is associated with PBS, discussing Miku. Initially, they perceived it as another program capitalizing on eye-catching fringe otaku buzzwords. However, upon watching, it revealed itself to be a genuine exploration from a musical standpoint. The brevity of the video, unfortunately, limited the depth of insight that could be gained.
This situation can be likened to console gamers and their perceived loyalties to specific platforms, or the absence thereof. The author’s own console purchases are primarily driven by the software available, which explains their ownership of a 3DS. Yet, other considerations also influence these decisions, leading to the acquisition of a PS3. This multifaceted approach to spending, where different rationales are employed, is believed to be common among many individuals, provided they possess sufficient resources to explore various spending justifications.
The question arises whether these idols are viewed in a similar manner. Setting aside identity, the author posits that the way enjoyment is derived from popular entertainment is not dissimilar to how enjoyment is derived from consoles, which themselves function as channels for pop entertainment. In this context, Miku might indeed be comparable to other typical, flesh-and-blood idols. For some, the focus might occasionally be on the music itself, akin to the software. However, the hardware undeniably plays a role as well.
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The author suggests that Shokotan might be a more fitting comparison than Lana Del Rey. They ponder the sales figures of Shokotan’s albums on the Oricon charts versus Miku’s, acknowledging that the comparison holds relevance for either artist. The appeal of the hardware can resonate with some, while the software’s impact remains more speculative.
It is evident that Miku addresses a significant void in appealing hardware of a particular kind. By 2012 standards, “hardware” in this context refers more broadly to the ecosystem, a topic the author has previously explored.
Regarding the frequent references to Sharon Apple in connection with Miku, the author proposes that instead of viewing it as a mere “old school nod,” it represents an enduring, unfulfilled desire. This sentiment, they argue, predates Miku, evident in characters like Priss and her Replicants from years prior, and even in William Gibson’s Neuromancer novels. Miku, in this view, successfully addresses this need. While not a direct confrontation, she helps alleviate the creative and projective energy individuals possess, allowing them to create and identify with aspirations.
In essence, Miku functions as a genuine idol. The narrative surrounding her is crafted by the audience, making her akin to an open-source idol whose repository is built upon memes and online culture.
