We Spoke To Australian VTubers About The Complexities Of Becoming An IRL Anime Character Online

We Spoke To Australian VTubers About The Complexities Of Becoming An IRL Anime Character Online
Image: Scarlet Chariot on Twitch

Scarlet Chariot has light-coloured hair, turquoise eyes, and a bright red cloak that wraps around a gold-trimmed tunic. Among her most striking features is a crown that sits to the side of her head, an emerald jewel brooch and, of course, her fox-like ears. Scarlet is a chippie-eating deity of death, destruction and chaos, at least as far as her Twitch bio says. She’s also an Australian  VTuber, one of many around the world whose animated digital avatars are now a well-established part of the live streaming community.

What exactly is a VTuber?

VTuber, a portmanteau of ‘virtual YouTuber,’ is a genre of online entertainers that use virtual avatars to represent themselves to an audience. While the concept has existed within Japanese entertainment for some time, Kizuna AI, who debuted in 2016 is often regarded as the first breakout VTuber star. A brown-haired anime girl with a pink-and-white aesthetic, she has since gone on an indefinite hiatus but not before captivating millions of followers for the last 6 years.

The trend has only skyrocketed since with tens of thousands of new VTuber channels across video platforms. The tag ‘VTuber’ on Twitch was so popular, that it sparked controversy when non-VTuber streamers began using it as a means to boost their visibility. On Instagram, it’s broken more than 1 million hashtags with posts belonging to a mix of VTuber-owned accounts and fan art.

The space for the Australian Vtuber, individuals like Scarlet, is only growing in number. VTubie, a global VTuber directory, cites about 40-50 active VTubers across Australia and New Zealand. Visiting the respective country tags on Twitch reveals many more, every 3rd or 5th channel is occupied by a VTuber. The content of their streams varies from variety streamers like Cherimu and AiCandii, to art-streamers like Twee and 2wintails. It’s the same formula as any other flesh tuber (a Vtuber inside joke to refer to in-person streamers) would have, only the point of interactivity lies within the model’s range of expression and movement.

Expression and identity

Scarlet began streaming in August 2021 during the Genshin Impact Twitch Streamer Recruitment event. She says she’s naturally shy and can at times, be anxious in front of the camera. The idea of putting her real face on screen for the world to see seemed like an incredibly daunting prospect, which is how Scarlet turned to VTubing.

“Using a VTuber model seemed like the perfect choice for me personally, because having a  separate online persona allowed me to feel more comfortable during the streaming experience,” says Scarlet. “I feel I now have the freedom to express myself more confidently and to be more open to engage with my audience in a way I never could before.”

Like many online communities, the streaming world isn’t exempt from bad actors. Cases of inflammatory comments, doxxing and hate raids are a lamentably common occurrence. Having a VTuber persona can provide that extra layer of protection by keeping the streamer a bit further away from the toxicity.

“With a VTuber rig, you are able to maintain a greater control over your anonymity outside of streaming if you wish to,” says Scarlet.

New Zealand-based VTuber Iceryx_ employs the use of emotes as his preferred digital avatar.  Often dubbed a ‘PNGTuber’, this subset of VTubing involves the usage of one or multiple PNGs to allow for simple animations such as mouth movements. It seems almost too simple, but even having a moving image that represents oneself lends dynamism to a stream beyond live gameplay footage.

“This can depend on the individual, but [an avatar] can give the viewer something to focus on or feel like they’re actually talking to someone behind the screen,” says Iceryx_.

Similarly to Scarlet, Iceryx_ also prefers streaming this way as it allows him to focus more on his content and interactions with the community.

“Currently, I only stream with a PNG of an emote and that’s plenty for me. I prefer it this way versus showing my real face because as a more timid person, it gives me more comfort and freedom during streams, rather than having to constantly worry about how I look and act at any  given moment.”

We have the technology

That Australian Vtuber channels have achieved the critical mass they have lies in accessibility. Where Kizuna AI had a full production team behind her, most VTubers are still the same individuals who would stream from their bedroom. Some opt for the PNG route like Iceryx_  while others go on to build full anime-aesthetic avatars using software like Live2D or VRoid Studio (both of which are free to download). Art skills and an ability to “rig” (an animation technique to create movement) are all that is required to breathe life into a design. Many VTubers are self-made, but the demand for VTuber models has sparked a burgeoning marketplace on peer-to-peer services like Twitter, Fiverr and Etsy, where artists and riggers can offer their services for commission. Prices typically start at around several hundred US dollars but premium services that involve a highly regarded artist or the rigging of multiple appendages, such as animal ears and tails, can see commission rates fluctuate between $US3,000 ($AU4,390) to $US5,000 ($AU7,320).

It’s clear that, even for Australian audiences, there’s an appetite for VTuber content. The guest list at SMASH! Sydney 2022 will include both flesh and 2D guests, with the latter being VTuber royalty Tsukumo Sana and Hakos Baelz. Both are members of HololiveEN’s  Council, the second wave of English-based VTubers represented by the agency. With a combined  2 million followers on all of their social channels, Tsukumo Sana and Hakos Baelz’s arrival to the 3D  is certainly one many Aussies look forward to with anticipation. As the lines between the real world and the virtual world continue to blur, our deity of death Scarlet looks optimistically at the development of VTubers in her part of the world.

“Every day I am seeing more and more VTubers from the ANZ region making their debuts on Twitch, YouTube and other social media platforms,” she says. “[VTubing] in my experience has been a great way to bring everyone together, make some friends and have a good time!”

Comments

  • As a vTuber myself, it really helps with confidence and lessens my stress before going live. Prep time is considerably less (about 10-15 minutes of making sure your equipment works) as opposed to having to do hair, makeup and having the most aesthetic rgb room (used to take me a full hour to get ready for stream). I used to put so much effort into my appearance for it to not come out on camera as nice and it depletes your confidence in your ability to perform, thus you give a lacklustre performance.
    40-50 active A/NZ vTubers is only the official numbers on a site like vTubie. I can tell you there’s WAY more A/NZ vTubers that don’t put their profiles on there (in the 100s).
    Lots of people poo-poo the whole vtuber thing due to the ‘weeb’ stereotype but honestly it’s no different than having a mascot or going faceless, it just aesthetically looks a lot more pleasing to some people.
    Thanks for this article! It’s good to see the A/NZ vTubers getting a bit of love!

  • At what point do we call them 3D after the proliferation of software like vtoid studio?

    The detrimental drawbacks of avatar-based streamers on their audiences are not to be understated; many a university tutorial has been stymied by the lecturer turning on Live2D.

    • “…Kizuna Ai… she has since gone on an indefinite hiatus but not before captivating millions of followers for the last 6 years.”

      The original, yes, but the ‘other’ Ai’s on her channel certainly aren’t. It’s restarted activity to positive reception.

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