The virtual ideal: Virtual idols, cute technology and unclean biology

“Wrap You Up in My Blue Hair”: Vocaloid, Hyperpop, and Identity in “Ashnikko Feat. Hatsune Miku – Daisy 2.0”

“…Differences between gender constructions in posthuman visual culture in America and Japan elucidate this cultural disconnect. Black (2008) finds the notion of a virtual celebrity likely was influenced by Western popular culture, in particular the Lara Croft franchise’s namesake character (p. 41). Tompkins et al (2020) observes how Lara Croft represents the stereotype of the femme fatale , in which the female body is depicted as a weapon, and shows how this characterization of female characters is often falsely equated with empowerment by representing a form of “hostile sexism,” which “captures the tendency to quell assertive women and rein in expressions of sexuality that do not serve hegemonic (i.e., heterosexual) masculine interests.…”

“…Despite the initial influence of the Lara Croft archetype, further differentiation between Japanese and American virtual celebrity culture is seen in Black’s contrasting of the “busty, athletic, gun-toting Croft character” with the “rather frail and demure” image of Vocaloid idols, which for Black (2008) serves as evidence of a “Japaneseness,” or a kawaii (cute) esthetic inherent to these idols (p. 41). For Tompkins et al (2020), the kawaii esthetic is an example of benevolent sexism, a non-threatening femininity representing “sweetness, purity, and innocence; traits that are highly admired as a unique form of beauty in Japanese culture” (p. 238).…”

“…“Daisy 2.0” takes the theme of the posthuman even further through the complete removal of the organic human element, as Ashnikko herself is also transformed into a virtual avatar alongside her Vocaloid companion. While technically free from the anxieties of human biology, Ashnikko’s positioning of Miku challenges the esthetic ideal of appearing “entirely uncomplicated and non-threatening” and thereby challenging to the idea of what is “acceptable” for an idol, virtual, or otherwise (Black 2008, 40). At the same time, Ashnikko’s use of Miku brings up anxieties around posthuman agency, given that Ashnikko, undoubtedly a commercially successful artist, is still effectively using Miku as a commodity to expand the potential audience for her music.…”

“…For this music video, Ashnikko’s virtual avatar, far more reminiscent of the Lara Croft archetype, differs from that of her companion in some significant ways. She lacks the large eyes and child-like appearance that characterize the “ kawaii body” of Miku and other Vocaloid idols (Black 2008). Instead, there is a strong anatomical emphasis on her breasts and her exposed stomach, and small details like the horns that come out of her forehead seem to reference her demonic self-image.…”

“…Instead, there is a strong anatomical emphasis on her breasts and her exposed stomach, and small details like the horns that come out of her forehead seem to reference her demonic self-image. Her ripped and stained clothing implies that something is very rough around the edges, whereas Miku maintains her clean and kawaii appearance in her official schoolgirl-esque uniform, evoking what Black (2008) describes as the “virtual ideal” of the idol, a product of the endless tweaking and streamlining resulting in her “smooth, rounded, unified exterior” (p. 45). Though Miku’s Crypton-sponsored image sporting “a short skirt and tight-fitting top” may “walk that line between youthful eroticism and innocence,” Miku’s appearance as she performs in “Daisy 2.0” still allows her to retain more of the latter than the former, unlike the upskirt shots in Williams’ “Last Night, Good Night” (Condry 2018, 126).…”