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VTuber

Streamers that use virtual avatars

  • 14 min read
  • 4 chapters

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Through Social exclusion, Transgender and Virtual reality

VTubers are associated with Japanese popular culture and aesthetics, such as anime and manga, and moe anthropomorphism with human or non-human traits. Some VTubers use anthropomorphic avatars, including non-human characters such as animals.

The first entertainer to use the phrase "virtual YouTuber", Kizuna AI, began creating content on YouTube in late 2016. Her popularity sparked a VTuber trend in Japan, and it spurred the establishment of specialized agencies to promote them, including major ones such as Hololive Production and Nijisanji. Fan translations and foreign-language VTubers have marked a rise in the trend's international popularity. Virtual YouTubers have appeared in domestic advertising campaigns and have broken livestream-related world records.

Overview

VTubers use avatars created with programs such as Live2D, portraying characters designed by online artists. VTubers are not bound by physical limitations, and many of them engage in activities that are unconstrained by their real-world identity. Some VTubers, particularly those from marginalized communities, choose to use avatars to reflect their online identity for personal comfort and safety reasons. Transgender VTubers may use their avatars as a means to better reflect their preferred presentation to their audience.

VTubers often portray themselves as a kayfabe character, not unlike professional wrestling; Mace, an AEW wrestler who himself began streaming on Twitch as a VTuber in 2021, remarked that the two professions were "literally the same thing". Ironmouse described her character as being akin to a superhero costume.

Technology

A VTuber's avatar is typically animated using a webcam and software, which captures the streamer's motions, expressions, and mouth movements, and maps them to a two- or three-dimensional model. Both free and paid programs have been developed for loading models and performing motion capture, with some capable of being used without a webcam (albeit with pre-determined animations), and some also supporting virtual reality hardware, or hand tracking devices such as the Leap Motion Controller.

Some programs offload motion tracking to external phone cameras via mobile apps to save system resources, and take advantage of hardware features (such as Face ID on iPhone) that can enable more precise motion capture. In 2022, VTube Studio released an update integrating with the Nvidia Broadcast tools, allowing for NPU-accelerated facial motion capture on systems using Nvidia RTX graphics cards.

The proprietary animation software Live2D is typically used to rig two-dimensional models constructed from drawn textures. Three-dimensional models can also be used; these typically use VRM, an extension of the glTF specifications designed to define humanoid character avatars for metaverse applications, and is supported by software such as Liv (which composites VRM avatars into VR games) and VRoid Studio (which can be used to create anime-styled avatars and export them to VRM), and also exported for use in other software such as VRChat. Commissioned models can cost as high as US$2,000 depending on their level of detail.

Some VTubers, colloquially known as a "PNGTuber" (in reference to the PNG image format), use sprites as opposed to a rigged model, with different frames for conveying different emotions or actions.

Agencies and commercialization

Major VTubers are often employed by talent agencies, with business models influenced by those used by Japanese idol agencies. Streamers are employed by an agency (sometimes via open auditions) to portray characters developed by the company, which are then commercialized via merchandising and other promotional appearances, as well as traditional revenue streams such as monetization of their videos, and viewer donations. Another holdover from idol groups is the use of the term 'graduation' to refer to a VTuber retiring their character and/or leaving an agency on amicable terms.

In agencies, a VTuber's character and other assets are often the intellectual property of the agency; if they are not able to receive rights to their character's IP when departing an agency, former corporate VTubers may transition to streaming independently under an alternate persona, with their past identity usually treated as an open secret.

With the rapid growth of the VTuber industry, the mental burden on performers (referred to in Japanese as nakanohito (中の人; "the person inside") and the ongoing online harassment directed at their avatars have emerged as significant structural challenges.

In September 2020, Anycolor, the corporation behind the Nijisanji agency, created an "Aggressive Acts and Slander Countermeasure Team" to offer counselling to victims of harassment and take legal measures against perpetrators of harassment, specifically the online harassment plaguing the Japanese entertainment industry. This announcement came in the wake of Hololive's VTuber Mano Aloe's retirement after only two weeks of activity due to online harassment.

A unique legal issue within this space is whether insults aimed at a fictional avatar legally constitute defamation against the actual performer behind it. In Japan, judicial precedents have begun to establish that if viewers equate the virtual avatar with the performer, infringing acts against the avatar can be legally recognized as an infringement of the performer's personal rights. This legal framework has enabled performers and their agencies to successfully file requests for the disclosure of perpetrators' identifying information, as demonstrated by a landmark ruling by the Tokyo District Court in 2022.

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