I’ve been with the company for five years now. For the first four years, I worked as a planning director for hololive Indonesia, but in 2024, I transferred to the International Event & Strategy team within the International Business Development Office, and I am currently engaged in overseas event projects.  

Correct. For Chromatic Future, as hololive ID’s fifth-anniversary project, it was not just about putting on a stellar concert, but we made sure to have a variety of offerings for fans, including a pop-up store, an online store, and on-site offline activities at the venue on the day of the event. Because of this, the project brought together a wide range of teams and departments, such as the Production Planning Department, Creative Production Department, Strategic Sales Department, Commerce Department and International Business Development Office. My main role was to oversee the on-site execution of the concert, as well as the exhibition booths at the venue. 

That’s right. To begin with, the fact that hololive ID, which started out as an Indonesian VTuber group, has continued for five years is something truly remarkable. This milestone was made possible by the many people who have loved the group and been involved along the way, and above all, the fans who believed in hololive ID. I wanted to take this opportunity to sincerely express our gratitude to them. As we celebrate our fifth anniversary, I’m genuinely happy to see that hololive ID has found its own place within the VTuber community and the industry.

hololive Indonesia was not the first VTuber in Indonesia scene, and it was due to the efforts and courage of those who came before us that hololive Indonesia was able to take its very first steps. Still, back then, even in Japan, VTubers were still in an early, exploratory phase, with people trying to figure out what they should represent, and even more so when it came to Indonesia. Because of that, one of our initial challenges was simply helping people understand what VTubers were and what made hololive ID appealing as a group. We needed to explain VTubers as a new form of entertainment, as well as how they fit in the industry, because we’ve had a lot of reactions from people in Indonesia, where Japanese anime is especially popular, wondering why the talents look like anime characters but speak Indonesian rather than Japanese. So in the early days, we spent a lot of time carefully introducing who we were as a group. Only recently do I feel that we’ve finally moved beyond that stage. We’re now reaching a point where people can truly see and appreciate each talent’s individual skills and unique appeal.

Personally, the first moment that stands out was when the three members of hololive ID’s first generation took the stage in 3D for the first time at “hololive 3rd fes. Link Your Wish,” held in Japan in 2022. That was when I felt hololive ID’s appeal truly reached a broader audience beyond borders for the first time. The second was in 2024, when all of the talents had their 3D models ready and held a solo livestream concert to coincide with a commemorative day in Indonesia,  “Gebyar hololive Indonesia” (Gebyar means “sparkling”) Through that experience, I felt that hololive ID’s unity as a group really came together, and that the group’s identity became much more clearly defined. 
From the very beginning, hololive ID’s streams have been watched not only by audiences in Indonesia but also by fans of hololiveand hololive English. As a result, we’ve always had a very diverse viewer base, with different tastes and backgrounds, hence finding the right balance so that both Indonesian fans and overseas audiences could enjoy their content was something we struggled with. After all, what resonates with people and how it does so can differ greatly from region to region.

Around the time of the “Gebyar hololive Indonesia,” I felt that each talent had come to understand their own role, as well as the delicate balance within the group, and there was a clear sense of unity. One of hololive ID’s defining strengths is its cultural flexibility – a positive ability to “be anything,”  but at the same time, however, this flexibility also poses a challenge to establishing and maintaining a stable sense of identity. This is something that the talents, the management team, and the fans have all thought about together over time. Being able to finally find a balance that feels right is something that left a strong impression on me. Today, a steady portion of hololive ID’s audience consists of overseas fans supporting the group from outside Indonesia.

Indonesia has a long-standing openness to overseas cultures. In recent years, with greater access to online content and information, interest in Japanese culture and that from many other countries and regions has continued to grow. While there have always been people who enjoyed Japanese anime, that interest began to expand more rapidly around the time when a lot of people were looking for more alternative entertainment media at home.  hololive ID has also been discovered by a wide range of viewers as part of this broader cultural shift. One thing I’ve particularly noticed is that audiences in Indonesia have a strong desire to see hololive ID express its Indonesian identity. Whether through language, visuals, livestreams, and video content, or music, there is a clear expectation that never losing sight of the fact that hololive ID comes from Indonesia.
In fact, one of the most popular pieces of content that many viewers say led them to discover hololive ID was an Indonesian folk song medley they did. These ideas aren’t driven solely by the management team. Many of them also come from the talents themselves, who regularly come to us with suggestions of things they’d love to try. It’s through this collaborative process that these projects come to life.

Yes, I think it has. In the early days, most of our supporters in Indonesia were anime fans. Over time, however, the audience has gradually broadened to include people who enjoy live streamers, as well as those who regularly watch videos and streams on platforms like YouTube. As that shift has taken place, I feel that VTubers in Indonesia are no longer seen as something too niche, but are increasingly recognized as creators in their own right. As a result, in recent years, hololive ID has also come to earn the trust of major business partners in Indonesia, including collaborations with Pocky Indonesia and Karaoke Manekineko, which operates locations across the country. At the same time, the popularity of VTubers themselves has continued to grow across Southeast Asia. This sense of growth isn’t limited to hololive ID – both groups and individual creators are evolving together, and there’s a shared feeling that the VTuber scene itself is becoming more widely accepted. 

If I had to choose one, it would be their warm and inclusive approachability toward everyone. Of course, fans are drawn to the talents for many different reasons – whether it’s their charm, their singing ability, their closeness, or other individual strengths. What stands out to me most, however, is how naturally hololive ID talents are able to make not only audiences but also fellow talents and creators, from a wide range of backgrounds, always feel like they are among friends. I think that’s why many people enjoy hololive ID’s regular streams in the same way they might enjoy stopping by a friend’s place. 

The concert title, “Chromatic Future,” represents our hope for a bright and colorful future. The word “chromatic” reflects the many emotions and experiences the group has gone through over the past five years, and with this concert, we wanted to shine a light on hololive ID and create an opportunity for the group to take its next steps on a global scale. 

This project also came with several new challenges for us as a company. For the first time at an offline concert, we incorporated Unreal Engine* into the production, allowing for beautifully detailed expressions of elements like rain and fireworks, which significantly expand the possibilities for stage shows. It was also the first time that all nine members came together for an offline concert. With the limited runtime for the concert, we made sure to pay close attention to how each talent’s individuality could shine as clearly as possible, and while this performance featured many unit songs, we also chose to have solo tracks performed in unit arrangements with that in mind. 

As a result, the concert was filled with many emotionally resonant moments. One that stood out in particular was when the three first-generation members performed “Here I am,” Iofi (Airani Iofifteen)’s solo track, together in the pouring rain. 
Also, the concert took place as part of the Indonesian convention “Comic Frontier,” which has supported hololive ID through previous concerts such as “hololive Meet,” so in addition to the concert itself, we also hosted a special two-day booth experience under the name “hololive Indonesia Fan Festival.” Because of this, the booths were designed not only for fans who came specifically for hololive ID, but also for visitors who were attending the convention itself, and I feel that these experiences beyond the concert allowed even more people to enjoy hololive.

Yes. As this marked hololive ID’s fifth anniversary, we received support from a wide range of companies. While our sales and sponsorship activities in Indonesia are not at the level in comparison to those in Japan, we’ve been able to build positive relationships with sponsor partners through ongoing efforts. Being trusted in this way is something we’re genuinely grateful for. When hololive ID was first launched, there were times when we wondered whether the day would ever come when VTubers would be entrusted with sponsored projects as well. 

In conjunction with the concert, we also had such attractions as the hololive ID booth area “hololive Indonesia Fan Festival” and the talent talk show panel “hololive Meet.” As this project brought together many people across Indonesia, Japan and other different countries and regions, we placed a strong emphasis on making sure everyone was on the same page. For example, something that may feel completely natural to us in Indonesia might not be viewed the same way in other regions. Even when we arrive at the same decision, the context behind it can differ. Since everyone on the team brings their own way of thinking and cultural background, we made a conscious effort to question assumptions and take the time to make sure there was a mutual understanding, rather than relying on what might seem “obvious.” This is something we’ve experienced in other projects as well, such as world tours like the “hololive STAGE World Tour,” where traveling to different regions makes these differences especially evident. 

I feel it became a very important step forward for the group. It felt like all nine talents had grown as entertainers and were showing us how much they are progressing as a group. For the staff and the fans alike, it was also the first time so many people had gathered specifically for hololive ID. The overwhelming message of this concert was, “hololive ID has come this far thanks to the support of our fans. Let’s move on to the next stage together.”

Absolutely. When hololive ID held its first offline event in Indonesia about two years ago at “hololive Meet,” only four members took part, and for many fans, it was their very first experience attending a VTuber offline concert. At the time, there was a sense that people were still figuring out how to enjoy the experience. Last year’s “hololive STAGE World Tour ‘24 Soar! @ Jakarta,” the atmosphere was already much more electric, and at this year’s “Chromatic Future,” the level of excitement in the venue was truly incredible. 
In that way, it hasn’t just been the talents and the staff who have grown over the past five years, but also the fans as well. This latest “Chromatic Future” felt like a shared celebration, where both the talents and the fans came together to mark hololive ID’s fifth anniversary. 

Across hololive production as a whole, many initiatives are designed to reach audiences both inside and outside of Japan. The Japan-based members, for example, aren’t labeled as “JP,” and hololive English is grouped not by geography, but by language. In that context, hololive ID may sometimes be perceived as a group with a more limited regional focus. In reality, however, that isn’t the case at all. 
One of the defining characteristics of people in Indonesia is that many grow up exposed to multiple languages from an early age, in an environment that readily embraces diverse cultures. hololive ID talents share these same foundations. Their interest in and understanding of different cultures has allowed them to develop a level of fluency in languages such as Indonesian traditional language, and more, and to use these languages naturally across their streams and musical activities. By incorporating multiple languages and cultures, the talents are able to express themselves much more artistically and, because of this underlying potential, I feel that hololive ID has been able to strike a flexible balance between catering to global audiences and local viewers. Their ability to bridge different cultures and values, combined with a high level of adaptability, is perfectly suited for international activities, and I see it as one of hololive ID’s greatest strengths. 

Indonesia is a country with a large population and immense potential, yet its presence within the global entertainment landscape has not always been fully visible. Because of that, I would love for hololive ID to take on a bridging role, becoming a group that is trusted within the VTuber industry and across the global entertainment scene.
I would be truly happy if hololive ID could grow into that kind of group, not only for audiences in Indonesia, but for people in many different regions around the world.
Each of the talents still has many dreams they hope to achieve and things they want to pursue, so if we can continue supporting them in achieving those goals together, that would be truly meaningful to me.