The Production Planning Department is divided into two main divisions: the Influencer Division and the Intellectual Property Strategy Division. Within the Influencer Division, the team handles what we call “talent premium merchandise,” a distinctive initiative unique to our company. These are special items produced by the talents themselves to celebrate birthdays or debut anniversaries. For example, to mark the anniversary of Houshou Marine from hololive production, we created a replica of the treasure chest featured in her music video. Or for Shishiro Botan, an avid ramen lover who even makes ramen on her own, we designed ramen-themed merchandise under the concept of “Menya Botan” for her anniversary. The hallmark of the Influencer Division is creating highly customized, tailor-made products that showcase each talent’s charm

As of August 2025, more than 80 talents belong to hololive production, and since each has at least two anniversaries a year, the Influencer Division manages over 160 anniversaries annually with a team of just 13 members. The process usually begins with the talents themselves, who come up with ideas such as,”I’d like to release this kind of item,” or “I think my fans would really enjoy this,” and it is our role to take those ideas and bring them to life as actual products.

One feature of the system is the pairing of the “Front” and “Middle” teams. Front team members are responsible for listening to the talents’ ideas, while Middle team members focus on shaping those ideas into actual products. Since gathering and coordinating feedback requires a different skill set from refining and finalizing a product, the roles are clearly divided. For example, if a talent says they’d like to create a plush toy, a member from the Front team will ask questions about the details – such as the size, facial expression, and outfit – and then pass this input to the Middle team. From there, the Middle team determines materials and specifications, and works with the right manufacturers to bring the concept to life.

The Intellectual Property Strategy Division takes on a role in direct contrast to talent premium merchandise. Instead of talent-driven ideas, this division creates company-driven merchandise. While talent premium merchandise comprises limited-edition items designed to emphasize a sense of exclusivity, the Intellectual Property Strategy Division focuses on more everyday products – merchandise that fans can pick up and enjoy at any time. 

This includes products that are always within reach – whether on store shelves or the official e-commerce site – so fans can pick up an item the moment it catches their eye. Even those who have only just discovered hololive production can immediately immerse themselves with these accessible items. 

At the core of this approach are what we call yokonarabi (side by side) products – standardized merchandise available across the entire production. These include plush toy series like hololive friends with u / to Go plushes, or acrylic stands made in the same size and outfit so that fans can line them up side by side, which allows us to meet the demand from fans who want to display their oshi together with other members. Since the Intellectual Property Strategy Division was only established in 2024, we are still in the midst of a trial and error phase. Moving forward, the team aims to grow into an organization that can deliver merchandise for fans of all generations, while building a strong foundation to ensure a stable and reliable supply of products.

Also, this doesn’t include licensed-out merchandise, which is handled by another division: our focus remains on in-house production.

The Production Planning Department works closely with a wide range of teams, from the Commerce Department and the Licensing Division to production and marketing.

Launching even a single product takes the combined expertise and support of people across the organization. One of the essentials is coordinating schedules to ensure that similar items are not released at the same time. With more than 80 talents, careful calendar management is key to making sure, for instance, that birthday merchandises don’t overlap with live event merchandises, or that similar products aren’t released simultaneously. Of all the collaborations, the team we work most closely with is the Talent Management Division. Communication with talents and discussions around merchandise ideas are often conducted through this division because, if communication isn’t smooth, it becomes very difficult to create truly great products. 

When it comes to working with so many different teams, one thing I always emphasize to my own team is the importance of sincerity. Whether it’s in our relationships with fans, with talents, or with our partners both inside and outside the company, sincerity is something I want them to hold on to, because I believe it is this sincerity that forms the foundation for building long-term relationships.

I began my career at BANDAI CO., LTD. as a new graduate, spending nine years in production planning. After that, I wanted to work on projects aimed at women and to gain experience in a global environment, so I moved to an international publishing company where I focused on marketing instead of editing. 

After that, I felt the pull to return to the entertainment industry and joined SEGA GAMES (now SEGA CORPORATION). There, I worked as a producer on women-oriented app projects, including an idol-training game – though unfortunately, that title was discontinued not long after its release. I then moved to Cygames, Inc., where I handled e-commerce operations and licensed-out merchandise, and later took on the role of overseeing the overall merchandise strategy for the company’s flagship app games. Two years ago, I took the next step in my career by joining COVER.

Back when I was working on merchandise for app games, I often asked our business partners what content was gaining momentum at the time, to which many answered “hololive.” That’s when it started to catch my attention. Around the same time, VTubers were beginning to rise in popularity, and I kept hearing the name, though I didn’t know much about the field myself. When I looked into hololive, I discovered just how many different kinds of projects the company was running which piqued my curiosity about the philosophy and mindset of the people driving such a broad range of initiatives – and that curiosity ultimately led me to apply for an interview. 

What ultimately convinced me to join COVER was the company’s vision of bringing Japanese content and culture to the world – it truly resonated with me. At the time, the gaming industry was dominated by battle royale titles with realistic visuals, while Chinese-made games featuring anime-style characters were quickly gaining traction. In contrast, many Japanese companies seem to be struggling to establish their content abroad. That’s why COVER stood out to me. COVER had succeeded in introducing VTubers, an authentically Japanese cultural movement, and is continuing to push boundaries even further: this determination struck me as incredibly compelling.

While I hold deep respect for content from both Japan and abroad, having built my career entirely within the Japanese entertainment industry, I take great pride in the country’s creative power and unique originality. What has struck me about COVER is how we share the appeal of Japan’s VTuber culture with the world in its most authentic form, which is how it came to be genuinely loved by so many international fans. This has inspired me to step into an environment where we can take what we’ve created and challenge the global stage, leveraging the strengths of Japanese entertainment culture to make a real impact.

When I think about production planning, I often look to Dr. Clayton Christensen’s “Jobs To Be Done” theory. The idea is that when people buy something, they’re not just seeking the product’s function itself, but something beyond that. A well-known example is the milkshake. People don’t necessarily order a milkshake simply because they’re thirsty. They might buy it to make a long drive less boring, or because they want to be seen as a kind parent who treats their children. In other words, there’s ultimately a state or experience they want to achieve through a particular product – in this case, the milkshake.

When we apply this way of thinking to our merchandise, the same holds true. Take acrylic stands, for example. Fans aren’t simply buying them for the sake of owning one – they’re looking for the experiences and value that come after. The same goes for can badges. It’s not just about having the badge itself, but about creating an ita-bag to show their oshi, posting photos on X and getting likes, or even sparking conversations with new fellow fans. In that sense, the true goal of merchandise is not the item itself, but the experiences and relationships it helps to create. 

Fans of hololive have a culture of connecting with one another – coming together to cheer on their favorite talents. At events, for example, it’s common to see fans reaching out to each other, gathering and taking photos together. In those moments, merchandise serves as a tool that helps fans connect, which is why, in the end, I see the role of merchandise as providing an experience. It’s not simply about offering merchandise, but about creating moments – feeling closer to your oshi, or sharing a sense of community with fellow fans. Through merchandise, we want to deliver that kind of experiential value.

For us, the most important thing is to be on the ground and see firsthand how fans enjoy their oshi-katsu. The Intellectual Property Strategy Division, for example, has developed a series called “holoKatsu,” inspired by these experiences. Many of the ideas behind this line came from our staff attending hololive live events and EXPO themselves, observing how fans enjoy the experience and drawing inspiration in the way they express their passion.

Of course, we also take online feedback into account, but nothing is quite as inspiring as being there in person and feeling the atmosphere of live events firsthand. Lately, one thing that has stood out to me is how more and more hololive fans are showing up with ita-bags, and we also see many fans carrying plushes of which they take great care, especially our hololive friends with u range, which they often bring to events and hold tightly throughout. 

Watching fans treat talent merchandise with such care really shows just how much it means to them, and as a planner that’s something truly heartening to see. At the same time, it also gives me a strong sense of responsibility to design products that can make those oshi moments even more meaningful. For us, merchandise isn’t just about producing items; it’s about shaping experiences and scenes that fans can truly enjoy. That, I believe, is our mission.

To me, merchandise holds two kinds of influence. One is the power to enrich the fan experience, while, unfortunately, the other is that of disappointment. When merchandise is poorly made – or when they aren’t released at all – the positive experiences that fans should have had are lost and after those moments, what should have been a joyful and fulfilling part of supporting a talent can end up feeling diminished.

I believe it’s essential for us to keep building an environment where high-quality merchandise is consistently available, so that the fans are never left disappointed because we know that the richness of the fan experience changes depending on whether or not appealing merchandise is available. That’s why we’re committed to continuing to offer everyone who supports hololive production a more fulfilling oshi life. To us, fan activities, or oshi-katsu, aren’t just about cheering for a talent directly. They also include the added joy and shared experiences that merchandise makes possible.

What truly surprised us when we opened the hololive production Official Shop (see related article) was just how many young people came through the doors. We saw so many upper elementary and junior high school students coming in, allowance money in hand as they shopped.

I realized that for younger fans – those who can’t use e-commerce sites or don’t have credit cards – physical stores are an especially important touchpoint. That was a real eye-opener for us. Since then, we’ve been putting more focus on offering items in an allowance-friendly price range, like can badges and stickers priced around 500 yen. 

One moment that really left an impression on me was seeing a father stop by the shop on his way home from work and video-calling his daughter to ask her opinion on a piece of merchandise. Seeing him hold a product up and ask, “Is this the one you wanted?” over the call was truly heartwarming to me and made me realize once again how the opening of physical stores has helped the fan community grow even more. 

We’ve also just opened a store in Osaka. Content-related shops tend to be concentrated in Tokyo, but our fans are spread across the country, so with that in mind, and especially to make sure we can reach younger fans, we’re continually looking at ways to bring our stores to other regions as well.

As we continue to expand overseas, we place the utmost importance on listening directly to the feedback from local fans by visiting events abroad and conducting fan interviews with overseas audiences. Most often, we speak with fans of talents from hololive English and hololive Indonesia, and it’s been eye-opening to hear from such a wide range of participants – men and women alike. These conversations are always an invaluable source of education for us.

What struck me most was how much local lifestyles influence the way fans enjoy their oshi-katsu. In Indonesia, for example, where scooters are the main form of transportation, we’ve had fans ask for stickers they could put on their helmets. Itasha culture is also thriving there, with many fans wanting to cover their cars in designs of their oshi. Some even suggested merchandise to decorate license plates – something we’d never considered in Japan. In the U.S., on the other hand, we’ve seen a stronger demand for tech-related merchandise, with many fans showing interest in products for their computers and peripherals. Generally, fan demographics aren’t so different from Japan, but the ways in which people enjoy their oshi changes depending on their lifestyle and environment – and that’s fascinating to see. These kinds of insights can only be gained by being in actual locations and listening to our wonderful fans, which is why we’re committed to gathering feedback locally and delivering products that truly fit each region.

At the moment, we don’t draw a strict line between products for overseas fans and those in Japan. VTuber culture really took off during the pandemic, when people couldn’t go out and online made-to-order sales became the norm and even today, we continue to make the very same products available to fans worldwide through cross-border shipping.

Now that the pandemic is over and people are able to go out again, deciding what kinds of products to deliver has become an important challenge. Looking ahead, we’d like to create more localized merchandise that truly reflects different regions. At our pop-up store in Los Angeles, for instance, I saw fans hosting their own offline gatherings, all wearing matching happi coats and taking group photos around the panels. Moments like these really show how fan culture is spreading overseas and remind us of the importance of developing merchandise that fits local cultures and mindsets.

For me, the greatest reward is always how fans react. When a product I planned finally goes on sale, seeing the buzz on social media, or fans posting photos with messages expressing how excited they are that their long-awaited order has arrived truly makes me happy. These moments are what keep me motivated and I think for anyone working in the merchandise industry, they are the biggest reward of all.

Of course, one reason I actively attend concerts and events abroad is to study and gather information. But to be honest, a big part of it is to recharge my own energy. Seeing fans taking great care when bringing their prized merchandise I helped create, or wearing it with such joy, makes me realize how much I’m supporting both fans and the talents. 

No matter how tough the production process may be, those moments become the spark that makes me want to give my best again. Knowing that our merchandise can enrich fans’ oshi-katsu experiences and strengthen the connection they feel when supporting their favorite talents – that’s truly the most rewarding part of this work.

One message I often share with my team is the importance of three key elements: openness, sincerity, and energy. These are values I believe are absolutely essential in any professional setting, and ones I personally strive to uphold every day.

When I talk about openness, I mean the mindset of trying something right away if it seems worthwhile, or adopting a new trend the moment one comes across it. This openness naturally leads to flexibility and speed. In a fast-moving industry like VTubing, I strongly feel that whether or not you have this quality can make a big difference in how quickly you’re able to grow. 

On sincerity, our work only exists because of the people around us – our fans, our talents, and our partners both inside and outside the company. Being sincere in every relationship ultimately shows in the products we create and in the results of our business. In the long run, any instance of us lacking in honesty will always be exposed, which is why it is something I can never compromise on.

And finally, energy. Without it, you can’t create the drive that fuels your work, nor can you perform at your full potential. I always try to maintain my own energy, and I want to surround myself with teammates who have that same spirit. With people who embody these three qualities – openness, sincerity, and energy – I truly believe we can create some amazing merchandise together.

We don’t place much emphasis on prior product planning experience: what truly matters is whether someone can provide high-class hospitality – the genuine desire to bring joy to fans and support talents.

Our team is made up of people from truly diverse backgrounds, but what ties everyone together is their supportive nature. Many find genuine joy in helping fans with their activities, cheering on talents, and creating the next moment of excitement. People who genuinely love entertainment and fun naturally gravitate toward our team. 

Our members come from a wide range of different careers – some as engineers, others in accounting: one particularly memorable case has been a former flight attendant joining our team. Thanks to her exceptional hospitality skills, she now plays a key role in the Front team serving as a bridge between our talents and the company.

It’s precisely because our team is so diverse that we place a strong focus on making the most of each person’s expertise and experience. Our work involves a tremendous amount of coordination – whether it’s collaborating with internal departments, negotiating with external manufacturers, or communicating with talents, which means we’re constantly engaging with a wide range of stakeholders. This is why I believe people who have worked across different industries are often a great fit here. Even if it is in a field that is wildly different, experience in building relationships or driving projects forward always proves valuable in what we do.

We’re looking for people who, regardless of their professional background, share a genuine love for entertainment and a passion for creating fun experiences. And of course, those who embody the three qualities that I just mentioned: openness, sincerity, and energy. 

What we value most in this role isn’t just coming up with the next great product idea, but being able to put fans at the center of your thought processes. Rather than solely focusing on personal opinions and what oneself thinks is a good idea, we look for people who can understand what fans are truly asking for and turn those needs into real creations. That mindset is what makes someone well-suited for this work. 

We want to work with people who can truly put themselves in fans’ shoes and create merchandise that lives up to their expectations.

For me, the expression that feels right is “standing on the landing of a staircase.” It’s as if we’re at the midway point having built a strong foundation for VTuber culture and now preparing to ascend to the next level: hence why we’re looking for people who are eager to take that next step together with us.

When it comes to merchandise, we’re seeing clear changes in how fans enjoy their hobbies now that the pandemic is behind us. More people want to bring their favorites out into the world – showing them off to friends, bringing them to events, and using them as a way to connect with other fans. With this shift toward sharing fandom more openly, we believe it’s time for us to evolve as well and create new kinds of products that suit these changes to the culture. 

This sums up COVER really: growing hand-in-hand with the evolving VTuber culture and moving forward to the next stage.