The Platform Division is responsible for the development and operation of holoplus, the official app of hololive production. Released in August 2023, the app allows users to see at a glance the streaming schedule of VTubers, and also has functions that let them collect information specific to their oshis.

We also provide app-exclusive content and are implementing initiatives for everyone from novices to core fans to enjoy, such as independently disseminating information in conjunction with various large-scale events.

Another feature is the official fan community. In the app, fans are actively interacting with each other, posting their impressions of streams and live performances, reporting on the merchandise they have purchased, and sharing recommended content. With the community managed by the official organization, fans can enjoy connecting with others with a peace of mind.

Under the theme of “A connected platform bringing fans their next, never-before-seen experience,” we unveiled our long-term platform initiative at the end of last year. With holoplus as the gateway, we want to create an experience where users can easily access various services and content related to hololive production.

At present, related services exist separately, so in order for users to enjoy these services, they need to go back and forth between multiple sites and apps to get the information they need. Our goal is to provide a much more seamless experience for users by integrating these as best as possible.

As the first step toward achieving this, we are currently working on the development of a common ID, a “hololive account”, to use when accessing our apps and other services. If each service can be logged into using a single hololive account, it will reduce the hassle of having to log in every single time for users. It will also allow us on the management side to understand the behavior of users more in depth, and to provide experiences that cross over between services.

By utilizing data collected by this platform, such as user activity history and profile information, we can deliver more personalized experiences tailored to individual tastes and preferences.

Also, by optimizing information based on data from behavior patterns such as purchase history and users’ “My Oshi” settings, the app can help users easily access content most relevant to them. It also enables COVER to deliver campaign information tailored to specific user groups with similar interests.

While we’re still in the process of testing and fine-tuning the specifics, our vision is to build a platform that offers a seamless, unified hololive experience. For example, users will be able to check in at live venues, exchange My Page details to make new friends, enjoy cheaper merch through points programs and share their impressions with talents after the event.

Guided by the worldview of creating a smart, ever-present platform that never feels intrusive, we want to create a win-win scenario for fans, performers, and partner companies alike.

In terms of our roadmap, we would like to establish a foundation by setting up hololive accounts and integrating existing services, enhance personalization functions, and finally provide admin screens and analysis tools for partner companies.

First, we will establish services centered around COVER’s VTubers, and then expand out in collaboration with various companies and industries in the future to build a broader ecosystem and establish ourselves as a sustainable platform.

To make this future a reality, our top priority is enhancing the user experience. That means taking a hands-on, diligent approach and carefully adding each feature one by one. By steadily building out the app’s functionality in this way, we hope to create something users will love and use over the long term, which will ultimately drive sustainable business growth.

I joined what is now PwC as a new graduate, where I started in system development for major Japanese companies in the management accounting field, followed by supporting corporate management in organizational transformation, subsidiary acquisitions, and other projects. After that, I decided that I wanted to work in an industry I was keen on, so I moved to a social game company in the entertainment industry.

Around 2015, I launched a startup focused on the video business with 1 million yen in funding provided by an investor. At the time, the idea that video content would become mainstream on smartphones was beginning to spread in the startup industry, but only a few investors believed that video would replace television. In that climate at the time, I started by hiring employees, securing early-round funding, and establishing joint ventures with talent management and video production companies.

After that, when the company grew to 100 employees and Series C funding and building out back-office operations had settled down, I felt a strong desire to take on a business role, so I returned to a consulting firm in a new business strategy role. After joining Mercari, I was involved in business development, marketing, and forming strategic alliances with other platform companies.

At my previous company, DMM, I worked as the Manager in the Business Planning division and the Deputy Division Manager in the Marketing division before being given the opportunity to work on business development under the COO. I therefore worked on business development initiatives aimed at promoting the growth of the platform.

DMM offers many services such as DMM English Conversation and DMM Books, but they were not integrated and existed in silos. To fix this, I led the planning and project management of cross-functional initiatives and projects that served as a platform for those services. In addition, as an entry point to grow the platform, we developed a video subscription service and implemented various growth hacking measures to leverage DMM’s diverse services and drive users to make use of the entire platform.
I feel that my experience in business development across various industries, including my tenure at DMM, is now keeping me in good stead in my current role at COVER.

After resigning from DMM, I was considering working in the entertainment field or in a consulting role at various companies when I came across holoplus.

Holoplus stands out among other services with a global user base for its ability to accurately capture what fans need, and I felt that the service is particularly effective at consistently reaching a niche audience. So, I decided to learn more about holoplus and participated in a meeting with the product owner. As I listened to their story, I was fascinated by hololive’s passionate fan base and felt that now was the perfect time to take on the challenge of a global business originating in Japan. These were the main reasons I decided to join COVER.

When I was working in corporate planning at a global entertainment company, I was once told by someone from an overseas subsidiary that “it isn’t easy for things that are popular in Japan to become popular overseas, and there’s no way that they can succeed in the US market,” which made me realize the difficulty of global expansion. I do feel that there are clear differences between Japanese and overseas companies in terms of negotiating skills and stances that are taken, so I was already keenly aware of the challenges of doing business overseas.

In recent years, the global anime market has grown, and I feel that we are finally able to take on the challenge of developing our Japanese VTuber business into a global one.

That said, I think the next few years will be crucial in determining whether COVER can create a culture that will be loved around the world. The Platform Division’s role is to promote and support the utilization of data to address current areas where there is room for improvement in terms of a data-driven approach. Demand varies by country, and spending behavior, lifestyles, and oshi fandom styles also differ greatly, so it would be ideal to be able to understand data from each country and devise measures and functions tailored to user groups.

Currently, about 50 employees belong to the Platform Division, and while we basically come to the office once a week, we use the virtual office Gather for remote work. There are virtual seats and meeting rooms, and the program can be operated like a game with a pixel art style UI. Even during company-wide meetings, the Platform Division assembles on Gather so that the entire team can watch together, creating an environment where we can work remotely while feeling as if we are physically in the office.

Our division is still in a startup-like phase, with businesses in both the 0-1 launch stage and holoplus in its 1-10 growth phase. That’s why we’re looking for self-driven individuals who can take the initiative and proceed with projects on their own. COVER employs a total of 600 people across various roles, but the Platform Division in particular is rather IT-oriented.

We are currently recruiting product managers with experience in platform planning and development, as well as development engineers. There are not many Japanese companies that have achieved true global success, even looking at companies I have consulted for in the past, but I believe COVER offers a unique opportunity to take on the challenge of developing global entertainment services. COVER offers opportunities to create new experiences and functions that were not possible in the traditional entertainment field, which is what I think makes it enjoyable to work here as an engineer or product manager. I want to work with people who are willing to take on challenges together in new frontiers, share our vision and direction, and can also work independently.

I want to culturally transform the industry on a global scale, to the point where Japanese technology and content are accepted by the mainstream.
I myself am part of a generation that has seen technology and content created exclusively for otaku gain mass appeal through video games and anime. Around 30 years ago in Japan, the term “otaku” carried strong negative connotations, but over time, that has gradually changed, and there’s now a history of enthusiasts in the subculture space becoming more accepted by society.

As otaku culture is gradually gaining recognition as a culture worthy of respect, I feel that VTuber, a new form of expression, has great potential to serve as a bridge between this culture and broader society. Just as Akihabara has transformed from its former days of being half-mockingly known as an otaku mecca to a cultural hub now visited by tourists from around the world, I hope that through the VTuber culture, fans worldwide can create a world where they can take pride in their own identities.
With this in mind, the company mission “Together, Let’s Create Culture Loved by All” truly embodies this sentiment. I believe that a company expanding globally from Japan that has strong ties to anime culture has cultural significance that goes beyond mere business. 

I believe that the concept of a platform that is there for fans and enriches their experiences can serve as a foundation for such cultural change. I hope that our platform, while being somewhat discreet, can serve as a bridge between fans and performers/creators and contribute to building a world where everyone can express themselves freely and authentically.

“It’s fun to just embrace the chaos”. We have only just begun to move toward the future we aspire to and I feel that there’s still so much upside as we continue to grow. Honestly speaking, I still have much to achieve, but that’s also what makes the future look so bright. I want people who get excited about all the “things we need to do” to join us here at COVER.