>>6581573I get it, you meant to say that Hololive gets you more emotionally invested than Nijisanji as an entire project. Which is true, in a sense, Cover nurtures hako-oshis far more competently than Anycolor does, although in their defense Anycolor probably cares less about nurturing hako-oshis and more about getting fandoms of individual vtubers that collectively constitute greater "Nijisanji" fandom.
I dunno, after a year being exclusively Holo I think I prefer the latter's approach. I'm not insane enough to emotionally invest myself to fifty-odd people, and for people who don't buy the hako-oshi narrative in the first place the former's approach easily comes off as psychologically manipulative, practically a corporate cult and treats the agency as something it never actually is.
The latter is important because it underlies a lot of dynamics that bother me, like the dichotomy between "homobeggars" who wanted same dynamism to extend for Holostars because they thought HoloPro is a genuine "family", and most Holo girls who had to run smoke and mirrors to pretend the Stars don't even exist at all so that their presence doesn't bring out the inherent conflict between emotionally-charged "We're all family" kayfabe and idolfag-GFE kayfabe. And then there's Coco's graduation which was obviously the case where the company is unwilling to accommodate a member's vision for its own goals for more family-friendly corporate sponsorship, and yet the graduation is spun as another company-worshiping event where the event where the company earned massive amount of money and secured PR victory for most people means they "actually care about Coco".
Honestly Coco's graduation just disillusioned me. Their emotional manipulation kayfabe is no longer believable and no longer feels consistent. There are successful individual stories like Suisei's, but as a whole it's a sham that gets increasingly less believable to me.
In the spirit of this thread, I'll have to say that it does earn them a lot of money, just not in the way that I like.
