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Holostars, the male branch of Hololive, has faced several challenges in gaining the same level of popularity as their female counterparts. One of the major issues is the lack of visibility and promotion. Holostars doesn’t receive the same exposure as Hololive talents, leading to many fans being unaware of them. This separation is further exacerbated by how the two groups are treated differently. To fix this, Cover Corp should promote Holostars more actively, utilizing the same channels used for Hololive and ensuring Holostars members appear in cross-company events. Organizing larger collaboration events between Holostars and Hololive could also increase their visibility and help normalize their presence within the company.
Another challenge is the cultural and fan-related barriers Holostars faces. In Japan, male VTubers often encounter cultural expectations or fan possessiveness over female talents, making it harder to grow a strong fanbase. Additionally, many Hololive fans avoid watching male VTubers, further isolating Holostars. To overcome this, Cover Corp could encourage more cross-gender collaborations between Holostars and Hololive talents who are comfortable with it. This could help bridge the gap between the fanbases and reduce some of the stigma. Focusing on international markets where male VTubers are more accepted could also be a strategic move. Holostars could target English-speaking or global audiences more aggressively by expanding Holostars EN and encouraging international collaborations.
Holostars also struggles with content saturation and competition. The VTuber space is highly competitive, and Holostars tends to get overshadowed by more prominent names. To stand out, Holostars should explore more unique content, such as variety shows, creative challenges, or original series. Diversifying their content offerings could attract a wider audience and keep fans engaged beyond just live streams. They could also differentiate themselves through music and concerts, as the male idol scene has proven successful in both Japan and Korea. By producing more original music and hosting virtual or live concerts, Holostars could appeal to a broader range of fans, including those outside the typical VTuber community.
Another concern is merchandising and branding. Holostars doesn’t have the same level of merchandise or branding opportunities as Hololive, limiting their income streams and visibility. Creating more appealing and exclusive merchandise, especially international collaborations, could increase their reach. Additionally, organizing exclusive events like virtual concerts, 3D debuts, or game tournaments focused solely on Holostars could give fans something to rally around and generate more excitement for the brand.
Lastly, streaming collaborations outside Hololive are limited, which hinders Holostars’ ability to reach new audiences and network with other creators. To address this, Holostars should be encouraged to collaborate with VTubers from other agencies, such as Nijisanji or Vshojo, and independent creators. By expanding their collaborations outside the Hololive ecosystem, they could reach a wider audience and tap into new fanbases.
In summary, Holostars’ growth can be improved by increasing their visibility, promoting more cross-gender collaborations, exploring unique content niches, and targeting international audiences. More active promotion, diversified content, and strategic collaborations could help Holostars thrive and build a more substantial fanbase globally.
