UlasanAnime.com – The recent announcement of Touyama Nao’s solo music career debut has sparked considerable discussion, with one particularly insightful observation noting her as the sole singer on Q-MHz’s album who had not previously embarked on a solo career. This is perhaps not coincidental, given her affiliation with Flying Dog, a subsidiary of Victor, mirroring how Kinmoza is a Flying Dog seiyuu group.
This situation also draws parallels to Numakura Manami’s musical journey. She publicly shared her reflections after her solo debut, explaining how her time in Trident had influenced her decision to pursue a solo career. Notably, both Numakura and Touyama are associated with Flying Dog.
It’s possible that this trend is a localized phenomenon within the industry. Both Numakura and Touyama are recognized within seiyuu otaku circles for possessing the talent and potential to excel in solo performances. However, a distinction exists between those who entered the industry primarily as voice actors and those who leverage their fan base to build a music career, or even expand beyond it.
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From this perspective, we are not solely examining the situation from the talent’s point of view, nor exclusively from the producer’s. The significance of a solo career versus other musical endeavors might be less impactful than it appears on the surface.
Ultimately, the existence of a solo career, or the lack thereof, may not be as crucial as it seems. For instance, a recent roundup of anime news from Crunchyroll, drawing from common anime matome blogs, failed to even mention Touyama Nao’s solo music debut. Instead, it highlighted her ancillary social media engagement, such as joining Twitter.
As a hypothetical PR professional, this oversight could be frustrating. The main news – a significant career step – is overlooked in favor of a less impactful social media update. The establishment of a Twitter account, particularly a PR account, is generally not considered a monumental event in the grand scheme of things.
This situation is both amusing and somewhat peculiar, yet not entirely unexpected. It also serves as a reflection of where priorities are placed within the media coverage and fan attention.
The reality is that voice actors have been venturing into solo music for decades. The entertainment industry has always been fluid, even before the rise of seiyuu as a prominent force, and this aspect has remained consistent.
Touyama Nao’s career began with a significant push as an idol character in “Kaminomi,” and the anime adaptation fully embraced this aspect, featuring voice talents who indeed had ties to similar projects. In this context, Touyama’s solo debut might be considered the least surprising of the year, leading many to wonder why it hadn’t happened sooner.
Personally, I am still processing the recent influx of merchandise related to Mocho’s activities and was already content having been present in person during her solo announcement. It remains to be seen how Touyama Nao’s solo career will unfold, but the feeling is that we are likely to witness a trajectory that is not entirely unfamiliar within the industry.
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