展演VTuber編織現實與虛構的同伴物種

作為新生次文化媒體現象，VTuber以數位技術為真實人類加上動漫外觀，進行直播活動。VTuber的收看、訂閱人數於後疫情時代成為全球娛樂市場難以忽視的創作及娛樂媒體，著名團體例如日本Hololive、Nijisanji，美國Vshojo等。然而，有關VTuber的性質持續引起爭論，有人視其為真人套皮的實況主，亦有主張將之看成動漫角色。VTuber的表演模式模糊了真實與虛構之間的界線，使得網路即時數位影像傳播的操演性問題浮上檯面。本研究以全球總訂閱量最多之Hololive為主要研究對象，透過歸類、分析VTuber的活動內容，如雜談、遊戲實況、live演出，探討其引發受眾情動，構築自身美學與文化動能的展演策略。本文視VTuber為一種創造性混合現實與二次元的數位表演。VTuber演出塑造了自身的獨特性，使其成為近似哈洛威所謂之同伴物種，伴隨觀眾面對疫情時期與其後之日常生活挑戰帶來的情感耗損。

As the practitioners of an emerging subculture, VTubers utilize digital technology to present human-like avatars with animated appearances and engage in live streaming activities. Their viewership and subscriptions have become an undeniable creative and entertainment force in the global entertainment market, particularly in the post-pandemic era. Prominent VTuber groups, such as Japan’s Hololive and Nijisanji, America’s Vshojo, have gained significant recognition. However, the nature of VTubers remains a subject of ongoing debate, with some regarding them as real individuals behind digital personas. In contrast, others argue that they should be treated as animated characters. This study focuses on categorizing and analyzing representative content of VTubers—such as casual discussions, game streaming, and live performances—by honing in on the most subscribed VTuber group, Hololive. In so doing, I explore the affective responses generated by VTubers and examine their strategies for constructing their own aesthetics and cultural dynamism. Thus, this paper sees VTubers as a creative fusion of mixed reality and the two-dimensional realm. Ultimately, VTubers can be seen as companion species, in a sense expounded by Donna Haraway, accompanying the audience through emotional exhaustion caused by the pandemic and the daily challenges of life.