By thinking of Miku and other Vocaloid voicebanks as instruments, the possibility arises to look more closely at what dwells beneath the surface of the virtual idols. Vocaloid is often associated...Show moreBy thinking of Miku and other Vocaloid voicebanks as instruments, the possibility arises to look more closely at what dwells beneath the surface of the virtual idols. Vocaloid is often associated with Japanese nerd (otaku) culture, though this association is often based on the virtual idols’ semblance of anime characters. Besides the adoration of Miku, the Vocaloid community is in fact characterized by “obscured identities, animated music videos,” songs with “lyrics that describe a more downcast view on modern life – with mostly all of it taking place on the Internet” (St. Michel 2021). Through these characteristics, which are also strongly associated with otaku culture (Azuma 2009; Condry 2013; Morikawa 2012), it becomes clear that Vocaloid music is actually related to otaku culture. This is particularly evident in Vocaloid’s history, seeing as it first gained popularity in an environment heavily populated by otaku. It can thus be said that Vocaloid music stems from otaku culture, of which even traces can be found in the way in which Vocaloid music is consumed, as well as the visual and lyrical content of the songs. From this perspective, this thesis will examine the way in which Vocaloid music is related to otaku culture beyond the image of Miku. It will provide a fitting overview of the history of Vocaloid music and place it into the context of otaku culture, followed by a qualitative analysis of several Vocaloid music videos. This will demonstrate the way in which Vocaloid music still refers to otaku culture.Show less
