NEXAS: The Kick Sweatshop for Vtubers!

[RiverBear]

8. Hololive is big in Japan but the real success story is Ironmouse and Filian, hololive has nothing on them.

Legit what does this mean

Is he insinuating that Cover makes less than Ironmouse and Filian? Or is he talking about how Ironmouse and Filian are relatively big despite the low investment, making them a bigger ROI?

 

[MerelyTourist]

Legit what does this mean

Is he insinuating that Cover makes less than Ironmouse and Filian? Or is he talking about how Ironmouse and Filian are relatively big despite the low investment, making them a bigger ROI?

Looks like dude never heard about Phase too. You know, the most important EN corpo you can't avoid when doing market research. Or he just jealous of fishman, thus he never mention it.

 

[frz]

Legit what does this mean

Is he insinuating that Cover makes less than Ironmouse and Filian? Or is he talking about how Ironmouse and Filian are relatively big despite the low investment, making them a bigger ROI?

1 of these 3 or all of them:

1. Ironmouse is number 1 subscribed twitch streamer and Filian has hundred of millions of views a month. They will become the new focal points of vtubing.
2. Confident that companies like NEXAS can conquer this "moving away from hololive" market that totally isnt saturated as fuck.
3. He hangs out with vshojo manager, merryweather and all the indie pilled people so he formed the opinion that indie/vshojo is the best.

in another part of the doc he also wrote this:
"For example, VShojo—popular even in Japan—does not own the IPs of its talents but operates as an agency focused on sponsorships and merchandise. Similarly, Brave Group’s V4Mirai practices what’s called "Adoption" in the industry, bringing in already active indie talents. Even Hololive’s new group, FLOW GLOW, consists of former AKB members and independent YouTubers, signaling a shift in the industry."

Looks like dude never heard about Phase too. You know, the most important EN corpo you can't avoid when doing market research. Or he just jealous of fishman, thus he never mention it.

He would likely have said the same thing about phase using invaders.

 

[Gravedigger]

Even Hololive’s new group, FLOW GLOW, consists of former AKB members and independent YouTubers, signaling a shift in the industry

Vshojo adopting established talents like Amalee and Hololive hiring talented people that happen to be known publicly previously are NOT the same thing. How much glue does this guy eat for brekfast?

 

[RiverBear]

Vshojo adopting established talents like Amalee and Hololive hiring talented people that happen to be known publicly previously are NOT the same thing. How much glue does this guy eat for brekfast?

The funny thing here is NO ONE is supposed to know the FLOW GLOW members are ex-AKB

 

[MerelyTourist]

I got to the end of his effortpost.
"I had to hire cripplingly expensive staff in america becasue of Legal Mindset" LIKE WTF DUDE? "And icompletely side with kurosanji on the selengate, fuck this bitch!"
The end is fucking hilarious: "I understand that holo/niji-type corpo model is dead and i need to focus on doing one thing well, thus i will try to do everything at once again. Now i gonna default to void corpo speak buzzords for a while becasue my brain is completely fried. Plz support my new Roblox hustle btw."

 

[frz]

Vshojo adopting established talents like Amalee and Hololive hiring talented people that happen to be known publicly previously are NOT the same thing. How much glue does this guy eat for brekfast?

If I have to defend him. I'd say it is a case of finding evidence for your conclusions. Same thing with police already concluded someone is guilty beforehand and extracting "evidence" during interrogation despite said person are innocent. Wrongful convictions happens all the time because of this. He concluded that Harry is talented and NEXAS could have taken over the world if it's not for those pesky things called "mental health" "money backing" etc.

What he said does come from reality, somewhat. V4Mirai did recruit kou mariya, VShojo does not own talents IP. But the fact that he thinks he can do the same by creating a "vtuber academia" is not.

The funny thing here is NO ONE is supposed to know the FLOW GLOW members are ex-AKB

I honestly think this is not the case. There are enough discussion like this place and people just recognizing them by the voices. People who wants to know knows, and even people who doesn't want to also knows because they made the cardinal sin of seeing a youtube recommendation or opening twitter. The issue is that both of them are not really that popular in the first place. They were failed idols who ended up exiting their careers.

It also shows in the subs number as both Riona & Vivi are the lowest subbed in Flow Glow. Hololive didn't pick them because they were popular idols, banking on the fact that their old audience will follow them. Those audience don't exist and they weren't popular lolw. Also not the first time hololive picked failed ex-idols. Plenty of that in Holo.

 

[NeneLOVE]

For example, VShojo—popular even in Japan

And other lies morons like this dude tell themselves. He hates dramafags but partakes in the "vshojo and indies are the new world order because niji imploded and aqua graduated!" spiel dramakeks pander. What a joke.

 

[God's Strongest Wardog]

For example, VShojo—popular even in Japan

>Looks up Vshojo Nova numbers
>MFW
They are most certainly NOT popular in Japan. Maybe Kson is, due to who she was and the effort she did to land that Yakuza (the game series) gig, but everyone else? ... no. Lmfao. What fucking drugs is this Yamanba on?!

 

[RiverBear]

I honest think this is not the case. There are enough discussion like this place and people just recognizing them by the voices. People who wants to know knows, and even people who doesn't want to also knows because they made the cardinal sin of seeing a youtube recommendation or opening twitter. The issue is that both of them are not really that popular in the first place. They were failed idols in all metrics.

Again, this is a case of "if you know you know" or "If you want to know, you will know"

Cover itself is not out here advertising "HEY GUYS, FOLLOW THESE NEW TALENTS BECAUSE THEY ARE EX-AKB IDOLS", compared to say VShojo or even Phase/V4Mirai outright saying 'These are popular Vtubers you already liked, follow them and follow us because they are now contracted under us"

 

[Superduper Samurai]

Nexas appears to be back already

https://archive.is/7z04G

NEXAS CREATOR HUB

NEXAS Creative Hub is a next-generation "Creative Studio" and "VTuber Marketing Agency" dedicated to empowering creators and brands. From illustration & character design to brand campaigns & influencer marketing, we connect anime culture influencers, VTubers, and digital creators with...

nexas.studio

https://archive.is/kyuML

The sales pitch is "NEXAS Creative Hub is a next-generation "Creative Studio" and "VTuber Marketing Agency" dedicated to empowering creators and brands. From illustration & character design to brand campaigns & influencer marketing, we connect anime culture influencers, VTubers, and digital creators with opportunities worldwide."

So it appears that whoever got the NEXAS name is using it to kickstart some sort of vtuber consulting/advertising agency. The website seems to use the Nexas models

 

[Ｍｕｒｒａｙしないで]

The website seems to use the Nexas models

…Which they might not have the rights to anymore? I don't know, maybe they buyout paperwork had an asterisk or something…

Armcha1r is going to do an unscheduled stream tomorrow going over the doc.

 

[Cubanodun]

There is a official english translation of NEXAS demise now

I like certain points of it

1. He changing the definition of what NEXAS was, he insisted A LOT that it was not a agency but a academy for new streamers, now is a "Mobile live streamer agency"
2. He admitting getting new models is expensive and cheaping in everything to just shit more talents as fast as possible
3. His business model is the ANYCOLOR one but in worse aka instead of having 10 talents that were good and generate revenue, he wanted 50 that get the more revenue possible, of course he falled in the same pit as ANYCOLOR that they cant give support to all of them and backstabbing and bitching started early
4. He admits the battle royale model where only the top performers get managers, the rest can go fuck themselves with a cactus
5. Also the survivors of the battle royale were going to get into a hypothetical agency that he was going to create
6. This part need to be pasted because he is the most deaf and stupid fuck that ever lived
7. He blame dramatubers for "exaggerating" the hate against NEXAS
8. He say that Merry did not had prepared anything for the interviews then suddenly the next day Merry is working for nexas
9. 400 Idiots auditioned for NEXAS he actually believed it was because people resonated with his idea when in reality thats the average you get even if you do it as a complete joke like SVA did
10. There comes the reasons of why NEXAS failed, the first and the most obvious people HATED anilive he refuse to admit that the great majority of the reason some nexas talents were successful was not for the platform, was because there was a dedicated group of nerds that restreamed all the NEXAS streams on Twitch because their god awful platform was by invitation only and iOS exclusive
11. He admit to fucking up networking of the talents on purpose by forbidding them to stream anywhere else that it was not in Anilive, if another vtuber wanted to collab with them he will refuse because only nexas used Anilive and everyone else was on youtube and twitch and he did not want his talents on other platforms
12. "Those fucking weaklings would not have survived the rice fields"
13. Admit that the only reason the first batch was successful is because he burned money on them to make them stay (the money splash) when money dried up then the corpses started to pile up
14. He start a weird rant about AI that has nothing to do with Nexas, he claim Anilive was expecting to integrate AI stuff??? but doesnt mention what
15. Start to bitch about how the peasants were bitching in discord and asking QUESTIONS and wanted to nuke it, the staff said no thats retarded and would have give people like us ammo to shit on them
16. He said when shit hit the fan he talked to another agencies (he claim that he talked to mid and low tiers one aka surely Kawaii and EIEN) and they admitted to him that they were struggling too... ok what does that have to do with you changing platforms?
17. His brilliant idea post mortem is... roblox and trying to be Mythic, yes thats about it

 

[MerelyTourist]

whoever got the NEXAS name is using it to kickstart some sort of vtuber consulting/advertising agency

Dude, if you did your favorite activity (religious thread backreaing) you wouldn't write this sentence

 

[frz]

There is a official english translation of NEXAS demise now

I like certain points of it

1. He changing the definition of what NEXAS was, he insisted A LOT that it was not a agency but a academy for new streamers, now is a "Mobile live streamer agency"
2. He admitting getting new models is expensive and cheaping in everything to just shit more talents as fast as possible
3. His business model is the ANYCOLOR one but in worse aka instead of having 10 talents that were good and generate revenue, he wanted 50 that get the more revenue possible, of course he falled in the same pit as ANYCOLOR that they cant give support to all of them and backstabbing and bitching started early
4. He admits the battle royale model where only the top performers get managers, the rest can go fuck themselves with a cactus
5. Also the survivors of the battle royale were going to get into a hypothetical agency that he was going to create
6. View attachment 89484This part need to be pasted because he is the most deaf and stupid fuck that ever lived
7. He blame dramatubers for "exaggerating" the hate against NEXAS
8. He say that Merry did not had prepared anything for the interviews then suddenly the next day Merry is working for nexas
9. 400 Idiots auditioned for NEXAS he actually believed it was because people resonated with his idea when in reality thats the average you get even if you do it as a complete joke like SVA did
10. There comes the reasons of why NEXAS failed, the first and the most obvious people HATED anilive he refuse to admit that the great majority of the reason some nexas talents were successful was not for the platform, was because there was a dedicated group of nerds that restreamed all the NEXAS streams on Twitch because their god awful platform was by invitation only and iOS exclusive
11. He admit to fucking up networking of the talents on purpose by forbidding them to stream anywhere else that it was not in Anilive, if another vtuber wanted to collab with them he will refuse because only nexas used Anilive and everyone else was on youtube and twitch and he did not want his talents on other platforms
12. View attachment 89485 "Those fucking weaklings would not have survived the rice fields"
13. Admit that the only reason the first batch was successful is because he burned money on them to make them stay (the money splash) when money dried up then the corpses started to pile up
14. He start a weird rant about AI that has nothing to do with Nexas, he claim Anilive was expecting to integrate AI stuff??? but doesnt mention what
15. Start to bitch about how the peasants were bitching in discord and asking QUESTIONS and wanted to nuke it, the staff said no thats retarded and would have give people like us ammo to shit on them
16. He said when shit hit the fan he talked to another agencies (he claim that he talked to mid and low tiers one aka surely Kawaii and EIEN) and they admitted to him that they were struggling too... ok what does that have to do with you changing platforms?
17. His brilliant idea post mortem is... roblox and trying to be Mythic, yes thats about it

So now that the english version is out. He is even more delusional than I thought. Imma just focus on him as a person here since I already talked about his failed venture on my earlier rundown.

1. He compared NEXAS to IRIAM, REALITY, bitch you didn't own the app. The app developer has access to ads revenue and other shit since they are running the app. They can afford having vtuber as loss leaders for long term audience gain. Your company is not making any money, there is no long term plan. You don't get to sit in the same table as them, you didn't write a single line of code and you have no VC backing like they do.
2. "Having an interest in leveraging my strengths—global business, entertainment, the creator economy"
Bitch what strength? you has 0 experience working with "global business". You can claim having worked with live streamer sure. But your 17live experience is a fat poop as noone global have even heard of your name and your company crashed and burn despite the entire world watching streams due COVID. This is the equivalent of working as a janitor for weWork and claiming you have international office management & maintenance experience.
3. "When I was at 17LIVE, I saw many so-called “management” agencies that basically took fees without really supporting their talents. I strongly did not want to become that kind of exploitative agency. But,"
"I don't want to be racist, but black people are more suitable for doing my manual labour" moment.
4. "Looking back, I think we could have found ways around this, like not mandating streaming hours explicitly but using indirect methods (e.g., “If you don’t meet the streaming minimum for no explicit reasons, we part ways”) to get the business going."
No you dumbass, if you give out punishment for not doing something, that's literally "mandating it". If you really want to motivate your "not employees", hand out incentive like getting bonus money for streaming more hours.
5. "Differences in Attitude Toward Mental Health"
Self-explanatory, exploitative fuck who can't admit it.
6. "Everything happened at NijisanjiEN was the clash of Japanese management styles and Western talents"
You were so close, dude, if you understand companies are being exploitative at point 3, why cant you relate it to Nijisanji.
Also hiring a musician with 0 experience and relying on talent to be the translator is not japanese management style, that's just nijisanji management style.
7. "The local tipping culture in North America is different and weaker"
No fucking shot he said this..... Werent you supposed to be a number monkey my guy. Turns out you have 0 analytical skills too.
8. @Cubanodun why he was rambling about AI is that Anilive and Nexas uses AI rigging and likely even AI generated model.
9. "Ultimately, I had to admit that our initial hypotheses were off,"
Everyone with eyes and brains could have seen that they were off. But at least you realized and won't do it all over again right?

 

[Superduper Samurai]

sentene

Im not Superduper and this new Nexas website and rebrand is brand new, retard

 

[NeneLOVE]

Spoiler: PAIN 1

Introduction​

I’m Harry, CEO from a company “forCreators.”
We established the company in Singapore in October 2023, and now, as we finish Q1 of our second fiscal year, we’re operating as a startup.
This article is about how I launched an "English-focused V-Mobile (Wtf is V-mobile?) live-streamer agency" (I will explain the definition later) and, in just one year, ended up shutting it down. As I write this note on January 31, 2025—the final day of the agency—I thought it would be a good milestone to look back on everything from founding the company up to the pivot in our business (More like when your business fucking imploded).
The title makes it sound like a bold story, but it’s not a tale of heroic feats at all (Idk in which context this could possibly be described as "heroic"). I made a ton of mistakes and have many regrets (No you don't). I’m writing this from my perspective in the hope that it helps someone out there (It won't unless the lesson they're taking out of it is "be the exact opposite of this moron"). Think of it like a “lesson in failure” as a management.

Definition of Mobile live-streamer agency​

(This is an additional paragraph to the original Japanese version to make sure the definitions)
But before moving on, please allow me to explain the definition of the term “V-Mobile live-streamer agency” as it is where most of the misinterpretations happen between Asian and Western audience and I’d like you all to understand the difference with “VTuber agency” correctly.
In Japan, there is a distinction between “VTuber agencies” (managing online entertainers who primarily stream on platforms like YouTube or Twitch, using anime-style avatars) and “ライバー事務所" = ”Mobile live-streamer agency” (managing live streamers on mobile-specific apps). (I have never heard of this)

What It Means:
A V-Mobile live-streamer agency is an agency focused on managing virtual streamers who primarily live-stream on smartphone-based streaming apps such as Reality, IRIAM, TikTok Live etc. These streaming apps are popular in Asia and increasingly worldwide for casual, smartphone-driven live content. Unlike a typical VTuber agency that might have fewer talents streaming on big global platforms like YouTube/Twitch, Mobile live-streamer agency often has very large numbers of talents—sometimes 100, 500, or even over 1,000 under one agency. (This is just a difference he pulled out of his ass, Niji has had more than 200 talents during its existence yet they stream on youtube, streaming on shitty apps nobody cares about and spamming talents does not make you some brand new invention, this is him huffing air up his own ass and trying to sound like he's reinvented the wheel)

Why It’s Different from a VTuber Agency:
• Platform Focus: They focus on apps meant for mobile devices, often designed for real-time audience interaction (Like youtube and twitch?) , gifting (tipping) (like superchats and bits?) , and casual chats.
• Talent Numbers: Because it’s a volume-driven business (many smaller streamers vs. a few top earners), these agencies tend to recruit or manage far more talents. (I think he's trying to justify his spamming of vtubers here by claiming "ITS NORMAL GAIS I SWEAR ITS A DIFFERENT COOLTOORE!")

The whole concept of NEXAS is coming from this “V-Mobile live-streamer agency” instead of “VTuber agency”. (Again, making a distinction that doesn't exist)

What I Used to Do & What I Want to Do​

I’m half Japanese, half Taiwanese (and 100% moron), grew up loving anime, manga, and all sorts of content (CONSOOM THE KANTENT!), and spent my college days more on studying abroad and interning overseas than actually going to class. I joined a company running one of the live streaming apps called 17LIVE (pronounced “ichinana”) as a new graduate in October 2019, about half a year before COVID started. For about three years, I worked as an assistant to the CEO at the Global CEO’s Office under Mr. Ono at the time.
While there, I experienced the live streaming industry’s explosive growth during the pandemic, witnessed how 17LIVE tried to expand into the U.S. and the Middle East and failed, and watched as everything gradually got taken over by TikTok Live (I seriously doubt whatever chinkware app your boss was developing between getting tossjob seshs from his secretary would've ever succeeded like the millions of other techbro slopware created every year to capitalize on (insert trend)). It was a jam-packed three years, after which I went independent. For about a year, I worked in the entertainment and Web3 spaces (Techbro red flag #1) as a freelance business developer and marketer (his true calling tbh) with a strong passion for "Creator Economy" (techbro red flag #2) industry, and then I founded my company.
Having an interest in leveraging my strengths—global business, entertainment, the creator economy—I began exploring possible ventures. That’s when I set my sights on the overseas VTuber market (A dark day for vtubing). I thought: “I want to take on the challenge in oversea markets with a culture that originated in Japan.” (that's what all of western vtubing is blud) Right before founding the company, I traveled around anime conventions in Southeast Asia and North America, arranged meetings with local VTuber agency CEOs (which agencies? Did Yagoo give you a pity meeting in his lunch break and made you feel special?), and gathered insights into those markets, forming a few hypotheses along the way.

Initial Hypotheses and Goals​

① A Time Lag of Several Years Between Japan and the Global Market

VTubers are one of the rare new forms of culture to originate in Japan. A major trend started in Japan and spread worldwide thanks to companies like COVER and ANYCOLOR (mostly Cover, Anykara just played second fiddle outside of china), but each market seems to be in a slightly different phase. I got the impression that today’s Japan might be where overseas markets will be in a few years (maybe 3–4 years later). (I disagree with this, the west will likely never advance to the level of japan in regards to chuubas being literal celebrities on billboards, that's simply because of different cultures and ways of viewing entertainment, japan isn't SUPER AHEAD OF THE CURVE in terms of vtubing, they're simply different because it's a different market)

② A Coming Wave of the “Long Tail”

When I talked to people in the overseas V community (wtf is a V community? Is it a commune for virgins?), every single one of them said that YouTube and Twitch are oversaturated—too many competitors (you probably asked a bunch of no name 2views who ain't getting any or shitty microcorpos who never got anywhere, the market is oversaturated, but these nobodies were never going to be popular anyway). But they had no viable alternatives. In Japan, platforms like Reality or IRIAM serve as next steps, but overseas, that hasn’t fully developed yet (huh? Making new platforms isn't going to decrease oversaturation, in fact it only makes it worse. Think about it for more than 2 seconds, a new platform doesn't magically create new eyeballs to watch vtubers, you're not growing the market, you're just giving the false illusion of there being a profitable audience in some newfangled platform so that a bunch of desperate 2views go there to stagnate. Reality is growing explosively in North America (literally fucking who?), but I heard from creators that making an avatar in the U.S. is extremely expensive (local illustrators can cost more than double compared to Japan) (proof? If this is true then why don't amerifats just hire nip illustrators? This is all online my guy). It’s just not feasible for many. In Japan, you can find cheaper options on sites like Coconala or BOOTH, but that’s not really accessible there. (Booth gets used in the west too moron) I felt that as more people try to become VTubers, the rise of long-tail content creators would inevitably arrive. (“Long-tail” is a business term referring to the idea that in the digital age, niche content or smaller-scale creators collectively attract a significant audience. Rather than having only a few mainstream “hits” or top stars, an increasing number of smaller creators can survive and thrive because the internet lowers distribution and marketing costs.) (This is bs, techbro speak, in reality even in independent creator driven online markets the VAST MAJORITY of the avaliable audience is just slurped up by a handful of very popular "Stars", just look at twitch and how the top 100 guys have like 95% of the watchtime in the whole platform, most of the plebs just stagnate with 0 ccv... JUST LIKE REAL LIFE!)

(bullshit chart with made up logic, Vspo and brave are the same thing retard)

A simplified diagram that appeared in my pitch deck
Because the business model of a “V-Mobile live-streamer agency” (fuck off) is heavily dependent on platforms, it’s relatively easy to generate revenue without burning too much capital as long as the platforms can pay us well , compared to straight into competitive platforms like YouTube and Twitch where there are no platform bonus such things (ESL moment). My idea was to run a V-Mobile live-streamer agency to generate sustainable cash flow, strengthen our network, and leverage this foundation to explore new opportunities within the industry (he changed this from the JP version to make himself sound less blatantly solely interested in a pump and dump). (one of the idea that I’ve been explaining to talents was establishing the “VTuber agency” that focus on multi-platforms on top of NEXAS).

Concerns About the “Value” of an Agency​

However, I’ve always had major concerns about the “agency model.” ("agency model" there isn't a single model you sperg, Niji/Holo/Vshojo/others don't have the same business model)
• The Evolving Creator Economy is Reducing the Value of Agencies
Thanks to more online tools, creators can now independently gather information, find work, and produce content. I feel that it’s getting harder to define an agency’s exclusive value—things only an agency can do (somewhat true but still you'd need to be mega rich to put on a massive concert as an indie, and the group appeal of agencies cannot be replicated without... a group). Meanwhile, a liver agency’s (wtf is a liver agency? Did you forget to change this to v-mobile v-agencv v-streaming bullshit you've been peddling?) model often depends on volume: rather than having 10 talents who each earn 10 million yen, it’s about having 100 talents who each earn 1 million yen (How is that any different? That literally just creates more upfront costs for no good reason, the only way I can see why you'd want this is to spam talents to see if any of them stick or to have each talent be worth so little you can just axe them off without much damage to your revenue stream). When I was at 17LIVE, I saw many so-called “management” agencies that basically took fees without really supporting their talents. I strongly did not want to become that kind of exploitative agency. (It's funny how he's criticizing this because this is EXACTLY what this moron went on to do) Yet, genuinely comprehensive support for each talent is very difficult to scale. Because each talent doesn’t earn a huge amount individually in this model, the management cost allocated per talent inevitably has to be lower than agencies exclusively select only a few talents. (justfying his own incompetence and greed, "NO GUYS WAIT IT'S A FEATURE NOT A BUG!")

• Cultural Differences in North America
In North America, there really aren’t “streamer agencies” in this model (Your made up model? I don't think that exists in general); there are barely any agencies that manage over 10 VTubers (Because they all died). How do you build credibility when you want to manage a large number of talents in a market where the word “Agency” can have a very different nuance than the one in Japan? In Japan, the company often has a stronger position than creators (In japan, people don't question their corporate overlords! How great!). In North America, it’s the complete opposite: the talent hires the company to do what they can’t do alone. Unless you deliver a clear benefit they can’t get independently, it’s not really an “Agency.” (No it's not, I think it's called a waste of time) I’d been thinking about this business model since before founding the company: “How can we export the Japanese ‘streamer agency’ model to North America?” (How can I peddle this shitty, low overhead, scattergun debut style model which was only adopted by a bunch of no name nip agencies (and Niji) that were created by morons and later burned to freedom landers? Does this dude realize that the ABSOLUTE MOST POPULAR AGENCIES IN JAPAN: Holo, Niji after 2022 and Vspo do not fucking do this? )

The Answer for myself (ESL Moment): The “Academia” Concept​

In the midst of all this, we came up with what we called the “Academia” model.
• Aim for an Agency Like “My Hero Academia” (Aka the "Hunger Games Model", Aka the "I tried to suck all of the soul and passion out of vtubing to produce money from it as quickly as possible" model)
We envisioned a “academy” where people who want to become VTubers gather to learn, compete, and push one another to grow. We’d provide regular lectures, shared assets, and bonuses as incentives. In return, from the outset, we would not offer extensive one-on-one management to talents. We invited talents who understood and accepted that approach by explaining the concept many times (we sold some bullshit idea to them until they acquiesced!) during auditions and selection process, as we understand that this is far from most of the current VTuber agencies. (Niji and Brave already did this and they did it better than you)

(Another nonsense chart made to mask how much of a predatory scam this whole thing was, this fag watches too much animu and by the looks of it he only watches normie trash, GO OUT AND BUY YOURSELF SOME TASTE WITH ALL THIS CASH INSTEAD!)

• Become a Launchpad for the Next Generation of VTubers
Our idea was to serve as an “academia” for prospective VTubers. Rather than starting out on YouTube or Twitch, we’d have them begin their careers on a new mobile streaming platform (To make sure their careers went nowhere! Also we know he got funded by said platform so this is just gaslighting to pretend it was his plan ALL ALONG!). The best of them—those who achieved results—would move up to a “full-service talent agency” that offered more management resources and multi-platform options, aiming to become top stars (so bald-faced, no pussybitching style favoritism, and this fucker has the gall to complain about the industry...). That was the ideal blueprint we had in mind.

(Chart which seems to imply his plan was to pull an third-world-country-government style escape from his investors and his own mistakes with all of the valuables to relocate in a much comfier place without all of the responsibilities and FILTH)

Initial Launch​

The first few months were nothing but trial and error. (I think all of it was, the errors never stopped anyways)

Days Spent Talking with Talents​

• “Door-Knocking” on English-Speaking Talents
First, we hired an American staff member. We asked him to contact as many independent VTubers and streamers as possible. Anyone who showed interest was then scheduled for an online meeting with me. Since I was based in Asia and our talents were in North America, it was normal to have meetings in the middle of the night. I’m not a native English speaker, but when you talk to new people daily, you get pretty comfortable quickly getting to know each other.

Positive Reactions from Talents​

• Building a Community with a “One-Team Feeling” (Apart from all of that by-design favoritism and crab mentality...)
Through repeated pitches (dude really should just go into marketing)—introducing myself, our concept, and asking them to join us as talents—many people responded positively to the idea of NEXAS (the mind boggles at just what kind of crock of shit this guy sold them, and how absolutely desperate people are to actually accept it). They seemed to like our concept, the idea of connecting with other like-minded talents, and being part of a community (ahh, so that's it, you made it look like a cozy orphanage while conducting death matches in the basement!). I was recruiting them the same way a startup recruits its early team members: “Join this brand-new ship!” (damn he knows all of the techbro tricks, dude could work at a pyramid scheme and/or crypto game!) We successfully interviewed and welcomed new talents into the community, and they naturally gathered in our Discord voice chats to play games all night and hang out. Early on, there was a strongly positive atmosphere—I really felt the excitement of something new beginning. (He saw the dollar bills gathering and his peepee got hard)

Marketing Strategy: How Do We Dispel Concerns About an Unknown Agency? (GASLIGHTING, VIRTUE SIGNALING AND FAKE PROMISES!)​

With our first wave of about 30 talents ready to debut, we moved on to the launch marketing. As a new player without major backing or a proven track record (as a new player you shouldn't have debuted 30 fucking talents), earning trust was key for us to gain fans in the English-speaking market. That’s where we turned to collaborations with high-profile, established talents. (So you leeched off of their good will and popularity to appear trustworthy, how nice of you! I hope they enjoyed whatever pittance you paid them to shill your slop)
Through introductions and random DMs (I love how honest he is about the fact that he had to slyly crawl into their DMs to beg for it, imagine how many people he got rejected by he's not telling us about), I managed to connect with well-known ENVTubers like filian and lopi, who graciously agreed to share their insights with our talents as “guest lecturers.” (They probably sat in a discord call with 50 other people muted talking some blah blah about how they do things, which, being indies, is completely different from how an agency should act. And then you used that as marketing tool to shill yourself as "DEFINITELY APPROVED BY BIG INDIES GUYS!")


They talked about how they grew their subscriber base from thousands to hundreds of thousands, how they create their content, their daily routines, and mindset. They packed an incredible amount of knowledge into those sessions. As a moderator, I was also a huge fan, so I couldn’t help asking a bunch of questions—I truly can’t thank them enough. (They probably thought you were a total fucking amateur destined for failure and wished to wash their hands of this whole affair as quickly as possible, sadly you're still dragging their names into your bullshit after-death pitybaiting post so I really hope they enjoyed whatever you paid them)

A Huge Controversy and Its Aftermath​

Just when we were all set and ready—right before the group’s debut streams went live—it happened.
The Storm of Negative Comments

We posted about the “Academia concept,” our plan to debut 27 talents over 3 days (wasn't it 30? Also great new kingdom hearts game title right there), and the schedule we’d been preparing for months. But the response was a flood of harsh comments: (OH YOU POOR BABY! WON'T SOMEBODY THINK OF THE CHILDREN!)
“This definitely won’t work.” (It didn't)
“This defies all known conventions.” (It does)
“Why would they do something so reckless?” (One wonders)
“Who’s this idiot founder?” (An idiot)
We saw a barrage of negativity. From their perspective, they knew nothing about us, we were launching a large number of unknown talents on an unfamiliar platform—it’s understandable that they were confused ("Confused" you fucker stop acting like you are a 300 IQ god whose ideas were beyond normal human comprehension and the stupid caveman brain of the plebs reacted with "hurr! Idk this! Attack!" everybody fucking knew what you were onto you slimy chink bastard). Still, some comments took aim at the talents themselves, calling them stupid for joining this new agency (I'm sure many of the comments were people advising the talents that joining a no name agency with a gladiatorial combat mechanic was not a bright idea, but I'm also sure you twisted it in a way that made it all seem like insults from the trolls and the haydurrs so your stupid crap wouldn't burn to ground before it even took off). They really hurt the talents’ motivation.
Honestly, seeing something you worked on for over half a year get torn apart right before your eyes was emotionally overwhelming (Cry more). I got a bit emotional, responded to some of the comments in a confrontational tone, and ended up pouring more fuel on the fire—something I deeply regret. (Cry me a fucking river you pompous f4ggot, you're a fucking techbro scammer entrepreneur, I'm sure you also get really fucking emotional when thinking about of all the liquid assets flowing into your bank account from however many morons you got to fall into your rugpull. And looking at your next project which targets CHILDREN you don't regret a single. damn. thing.)

Have You Heard of “Dramatubers”?

Like everywhere else, the world loves gossip and scandals (so did you when you started butting into the business of other corpos with your little hitpieces and articles where you act like you know a single thing about this industry), so there are always creators hungry for drama. We became fresh prey for those “Dramatubers.” Right before our talents’ debuts, they dug up my LinkedIn, X, and past company info (all public information), misinterpret everything (then be open instead of hiding shit for people to find later and interpret in their own way, unless you had things you didn't want others to see), and bashed us on their channels. I remember going numb, emotionally, watching it happen. (CRY MORE YOU FAG, CRY MORE)
I couldn’t think straight. I canceled all my meetings and spent five hours at a nearby sauna meditating, trying to reset my mindset (jesus are you a businessman? You need to be a coldblooded bitch if you wanna do business, your adversaries aren't going to pull their punches and go "guys I think we were too mean to poor widdle chinky" NO THEY'RE GOING TO FUCK YOU IN THE ASS WHILE YOU'RE DOWN AND SPIT ON YOUR TWITCHING CORPSE!). I pulled myself together because the debut streams were starting the next day. I apologized to the talents, telling everyone—including myself—“We just have to do our best and not overthink it.” (Aaaaand you made all of that up for pity, you probably just snapped your fingers and went "drats! they figured my bullshit out before I could even start! Well... I guess I already wasted captain's money on this so better pretend it's going somewhere before I dip out.")

Merry’s “Public Interrogation” Stream?​

While the flames were still raging, I got a DM from Merryweather, one of the top (PFFFT! Maybe in a worse timeline perhaps) English VTubers with 400k followers on X, 500k on YouTube, and 300k on Twitch: “Wanna talk about this on my channel?” He himself runs a Webtoon company (he just VAs shitty "relatable" manga memes other people make, half of which are just cockteases for coomers) and a VTuber agency (a friendgroup full of whores and troons nobody cares about), so he was genuinely interested in our concept. On my side, I thought, “If we don’t clear up the misunderstanding here, we won’t get another chance,” (should've picked someone other than merry then) so I decided to appear on Merry’s show.


It was a gamble (no it wasn't, I can bet good money you morons agreed on what the questions and answers would be before it even happened). I’m not a native English speaker, and I might not be able to explain what I truely (ESL moment) intended clearly. They could easily twist my words, turning it into prime content for Dramatubers (if you had actually bothered to study english and prepare then that wouldn't be an issue, also there's plenty of tactics to defend oneself from duplicitous interviewers, which you SHOULD know if you plan on being a public facing figure in your org). It would be a live broadcast with no pre-submitted questions (lame)—basically a possible “public execution.” (I think pre-submitted questions would've been FAR worse for you)
However, people who knew Merry told me that he’s not someone who maliciously attacks guests (unless they disagree with his worldview); he takes a fair stance, aligning with fans but also expressing his own views. So, I resolved to be totally honest (I don't think you were born with the capacity for honesty), straightforward, and passionate, focusing on correcting misconceptions (making excuses). I spent 1.5 hours answering tough questions from Merry and his fans, sweating through my English. Before going live, I was so nervous I couldn’t eat (the neighborhood dog let out a sigh of relief). But thankfully, I didn’t say anything that caused more misunderstanding, I guess.

(Screenshot of merry looking faggy as usual and this other moron with his innocent child friendly avatar to hide what he actually is)

Thank you so much for giving me an opportunity, Merry.
• Outcome: Merry and I Became Good Friends (did you fuck his loose boypussy after the stream? If so, how loose was it?)
After that, Merry openly supported NEXAS (which he later probably regretted and then silently slunk back into the shadows like a good pest). The negative comments subsided because “If Merry endorses them, maybe it’s okay.” (whoever was retarded enough to be dissuaded by merry of all people should be considered for a mental institution) He even volunteered to hold special lectures for us (on sucking dick?). We ended up going out to eat together, and he really saved us. I cannot thank you enough. (oh you definitely tapped that ass, or maybe he tapped your dirty chink asshole, either way somebody got fucked)

Early Successes​

Thanks to that controversy, ironically, our name got more attention. (Some would say it was on purpose...) The debut performance on launch day was great ("great" is relative). The talents had prepared a ton, performed amazingly and viewers were excited. At that time, our partner platform was pumping in big promotional budgets (burning investor money on a dead platform), so the more the talents streamed, the more they earned. Some of the streamers even earned more than $2,000 in their first month of streaming (that's less than the average fucking income in my shithole of a country...), which is extremely difficult if you start your streaming career on YouTube or Twitch (this is a public info). The events were highly competitive. It had that early-stage thrill unique to a new live streaming app.

400 Applicants Right After the Debut
Even after all that drama, we still had 400 people who resonated with our concept and wanted to join (it's sad to know there are so many desperate people). This confirmed our initial hunch about a growing long-tail market, new platforms, and an appetite for a new kind of agency.

A Deeper Look into NEXAS and Its Quest to Build a New VTuber EconomyWe take a deep dive into a new VTuber group called NEXAS – itvtubernewsdrop.com
(Thanks VTuber NewsDrop for the feature.) (Just so everyone knows, Vtuber newsdrop "partners" (takes money from) corpos like brave to run fluff pieces on them)

Why the Agency Couldn’t Continue​

Although our “debut fest (spam)” was a major success, things started unraveling quickly about three months later.

The Lure of Other Platforms
Again, in Japan, “VTuber” and “V-Mobile streamer (Vライバー)” are distinct concepts, so you don’t have to explain the difference. VTubers are mostly interpreted as virtual influencers that stream on YouTube. V-mobile streamers are mostly focusing on smartphone-based streaming app (such as Reality, IRIAM, TikTok Live etc). But in North America, the line doesn't even exist. Everyone pretty much wants to be a “VTuber”, and nobody specifically aims only for mobile streaming. (So your first cause for failure is that the americans do not possess the futuristic concept of "Streaming on your phone" ...riiiiiiiiight, more like americans don't care about tiny shit platforms peddled by techbros and instead watch the big platforms they already like ON THEIR PHONES)

• “Why Not Stream on YouTube?”
When talents interacted with other VTubers on X (Twitter), they’d be invited to collaborate on YouTube. But early on, we had exclusive conditions with our partner platform that restricted multi-platform streaming, because that was the strategy where talents and company could get benefits from, such as monetary bonus, from the partnered platform. So, our talents had to say, “Sorry, the agency won’t let me stream on other platforms.” People’s reaction was, “That sucks,” and the negativity spread among creators. When we loosened the restrictions in response, talents understandably migrated to “the more fun” option. As a result, our main platform strategy started to crumble. Please don't get me wrong. This is not to blame talents, at all. It's a failure of management to build the balanced guidelines and operations.
(So you admit that the talents found more long-term success, and more collabs which bring in numbers in other platforms, and your "SPECIAL NEW JAPANESE PATENTED WAY OF DOING THINGS!" was nothing more than a contract clause tying you to a dead platform because you needed the money. It's almost like the thing everyone is already doing... works?! WOW!)

The Challenge of Promoting Commitment​

• Contracts That Don’t Force Streaming Hours
When you run a global agency, there are many legal and cultural constraints. If you try to impose streaming hours as a requirement, you start to encroach on “employee” status under U.S. or local labor laws (Are you meaning to tell me I can't force people to work 24/7?! THE HORROR!), which places a huge burden on the company. So our contract had to be relaxed in that sense, making it impossible to enforce something as crucial as streaming hours (Other companies enforce streaming hours idk wtf you're on about, you probably just wanted to do something unreasonable)—arguably the most important element for the business. Looking back, I think we could have found ways around this, like not mandating streaming hours explicitly but using indirect methods (e.g., “If you don’t meet the streaming minimum for no explicit reasons, we part ways”) to get the business going. (At least he is honest)

• Differences in Attitude Toward Mental Health
There’s a big cultural difference between Japan and the West regarding mental health (Main difference being that it exists as a medical concept in the west). It’s difficult to convey this in writing without misunderstanding, but from a management standpoint, the typical Japanese approach of pushing and encouraging talent to work through tough times (I wonder why japan has a word for dying from overwork...) can be very problematic in a Western context. Japanese, or even Asian management culture emphasizes persistence and endurance, while Western approaches often prioritize individual mental well-being (what is this "caring about the wellbeing of your employees? The only thing that needs to feel well is my wallet!). Every new creator knows that in the early days, you won’t get many viewers. It’s not always fun. But pushing them just a bit harder so that they can break through was extremely difficult from a communication standpoint. Some talents did keep streaming consistently without any push, but for the level of success we needed, it was tough to get a high enough percentage of them to do so. (For those who don’t know, the streaming hours and consistency are the two biggest key factors to drive revenues and bonus in the mobile streaming apps. I guess ex-NEXAS talents can sense it as all the bonus structures were designed purely based on these two metrics on the partnered platform). (More like you kneecapped all of them by making them stream on that shitty app nobody watched and then told them to make up the difference by working harder to see the same results as people on youtube)

• Rising Staff Costs
Around the same time, ANYCOLOR’s NIJISANJI EN got embroiled in a massive controversy. In short, it was the clash of Japanese management styles and Western talents. Top talents started leaving. An Asia-based staff tried to manage North American talents, and the gap between the company and creators grew bigger and bigger. Eventually, the departing talent ignored NDA restrictions and leaked internal details, forcing CEO Tazumi to post an apology video. (Oh poor widdle Niji! The evil westoids bullied them into not driving their talents to suicide?! What disrespect!)

(A real lawyer streaming a public review of NIJISANJI’s leaked contract… a nightmare for any kind of business owners.) (LM may be a moron but this guy is a bigger moron)

Talents saw all this happening. To avoid a similar fate, we felt pressured to hire staff living in the same time zones as our talents (Bahahaha! So you knew the industry had gotten a lot more critical of shifty corpos like yours so you panicked because you knew how shitty and similar to Niji your corpo was), which of course meant higher labor costs. Because we were trying to recruit talents at a rapid pace, we also needed more managers. Our cash flow was draining quickly. In hindsight, we should have slowed down. We got carried away with an unrealistic pace of growth in talent acquisition (the first and only sensible point this dude makes, maybe it's not fine to debut like 400 vtubers in the span of a few months) and team expansion, which I deeply regret.

The Partner Platform’s Rapid Decline​

• End of the “Money-Splash” Period
At first, the platform was showering creators with bonus campaigns, which let our top talents earn a lot. But as soon as that ended, they suddenly weren’t making nearly as much (Lol so you yourself got fucking rugpulled, karma has its ways you fuck). This was similar to what happened when Pococha and 17LIVE withdrew from the U.S. The local tipping culture in North America is different and weaker (IT'S NOT OUR SHITTY APPS FAILING BECAUSE THEY'RE SHIT! ITS THE EVIL AMERIFATS WHO DON'T UNDERSTAND JAPAN AND MAKE US FAIL! It's funny how he admits to having seen it happen before with his old corpo just to go into yet another similar corpo, bro does not learn). Also, people care about what percentage of their tip actually goes to the streamer (WOW WHAT A STRANGE CONCEPT! It's almost like the tip is meant for the streamer and NOT YOU!). It was hard to justify the same high-level tipping approach used in Asia. Gradually, we realized that talents couldn’t earn as much as we had hoped.

• AI Controversies → Boycott
The ENVTuber community (Industry) in particular was extremely critical of AI. Many believed AI art steals illustrators’ jobs, so anyone using AI art was an enemy. Our partner platform was actively developing AI-based features for streamers and to expand the creator base, which set off a huge backlash. Talents, not wanting to be labeled as “the people who support AI,” left the platform. They didn’t want to get caught in the crossfire and simply declared, “I’m not streaming here anymore.”
Sure, streaming on YouTube or Twitch didn’t necessarily mean they’d make more money immediately at all. In terms of time efficiency, streaming on partnered platforms is still more profitable for both the talent and the company. However at that point, it felt like things gradually spiraled out of control. (Poor techbros, they can't peddle slop in peace and just have the witless masses consoom the product!)

This is how our original strategy and business model fell apart. (It never worked in the first place, you just kept chugging along with your retarded "model" until both you and your stupid platform both ran out of money to burn)

 

[NeneLOVE]

Spoiler: Pain 2

A Negative Spiral in the Community​

Our Discord server was initially meant to be a place for everyone to grow together and compete positively. But it gradually turned into a hotbed of complaints.
In voice chats, a few members would vent about our management and the platform. They criticized our decision to keep recruiting new talents rapidly (Almost like you were diluting their already miniscule pool of viewers even further at an insane pace and they knew better than you that no agency on this green earth can function while burning money on producing more products with NOBODOY TO BUY THEM), as well as how we manage talents. I wanted to shut down the community function altogether (Those silly talents! How dare they complain about my generosity!), but staff argued that removing it would kill our agency’s core value (I guess ol' harry failed to fill his managerial positions with a bunch of yesmen and bootlickers, he failed the dictator starterpack). Meanwhile, negativity in the community led some members to take breaks from streaming. Rather than inspiring each other, the community had become a place that discouraged people from trying—absolutely the worst scenario. I completely failed to design (manipulate) the community in the way that I originally intended.

The Crossroads​

At this point, it was clear we had to make a drastic change. To this stage, we have already invested a lot just to produce the Live2D models for all the talents (sounds like a good reason to not debut a gazillion talents), keep the academia running and make sure talents always have some talent managers to talk to. We hadn’t been able to make the projected return on the investment (advice for startups, DO NOT FUCKING EXPECT ANY RETURNS ON A STARTUP, expect to eat canned tuna and bread for however long it takes to actually produce, expect to go in the fucking red and always have more money than you predict you will need) due to the various factors explained above. I needed to face the reality, seeing the decline of company cash level every month in the rapid pace.

① Fundamental Reforms (Operations, Contracts, etc.)

We could double down on the original strategy, risk losing many talents, but introduce stronger contractual obligations.

② Change Our Main Platform

We could pivot to YouTube or Twitch, which talents actually wanted. But after speaking with other small and mid-sized NA agency owners, I realized almost no one was doing well financially (because all of you are morons). The only agencies surviving after starting around 2023 or later were either well-funded (big corpo) or had other businesses that could subsidize the investment needed to scale. We, as a startup company, didn’t have any other business projects that could produce profit to invest back to NEXAS project (maybe actually start a successful business and then use it to finance a venture into the highly volatile and competitive vtuber market instead of diving right in with 0 experience and somebody else's cash). Continuing the current operations means starting the countdown to the bankrupt, which I really needed to avoid.

Ultimately, I had to admit that our initial hypotheses were off, and I had to accept that it would be very hard to pull off a miraculous comeback in the same direction. (BUT YOU ARE STILL PEDDLING THE SAME BULLSHIT EVEN THOUGH YOU ADMIT IT WAS OFF, I GUESS WE JUST DIDN'T TRY COMMUNISM RIGHT THIS TIME HUH FOLKS?!)

Pivot and the Future of NEXAS​

We decided it was no longer sustainable to operate as a V-Mobile live-streamer agency and shifted toward closing the agency function.

Rethinking the Talent Agency Model​

• Scouting Established Talents Is More Rational
In many talent industries—music, IRL influencers, etc.—it’s become standard to scout and support individuals who already have some traction or are beginning to grow, rather than grooming total newbies from scratch. In the VTuber world, it’s still common to produce talents from scratch, largely because companies want to create new character IPs. But look at VShojo, a well-known name in the West and Japan (as said previously in the thread: FUCKING LOL): they don’t own the IP; they just act as an agency for sponsorships, merch, etc. Brave Group’s V4Mirai is also bringing in already-active indie talents (they call it “adoption”). Even Hololive’s new group “FLOW GLOW” features people with backgrounds in AKB groups, or established YouTubers. The tide is changing.
(DON'T FUCKING USE HOLO TO PEDDLE YOUR TRASH YOU RAT BASTARD, FUCK YOU FOR COMPARING SEKRIT KNOWLEDGE SOME MONG DUG UP TO OTHER CORPOS BUYING TALENT, MIND YOUR OWN DAMN BUSINESS. Even if you want to copy vshojo that shit requires trust and money and you have neither. I guess this dude would LOVEEE it if talents or corpo could all keep their IP so he could then go and buy them out instead of doing any work of his own, I am glad IPs die when people graduate so they can't be bastardized by fuckers like him)

• Streamer Agencies Depend Entirely on Platforms
Instead of splitting revenue with each talent, you might explore a B2B model where the platform pays you a management fee or bonuses (No big platform is gonna pay YOU to stream there, they get the same amount of CCV whether the talent is independent or in your corpo so they ain't gonna fund your manager fees), which NEXAS was mostly based on. We didn’t take any of cut from all the revenues talents made on the partnered platforms. But you’d still be very dependent on the platform. If streaming on the platform isn’t as monetizable for talents as other mainstream platforms, or if the bonus structure for agencies is weak, you can’t sustain the business. Especially in live streaming apps, there’s a massive difference in how much a streamer can earn depending on the platform. I’ve seen cases where a talent moved from one platform to 17LIVE and tripled their revenue (wtf were they streaming on before?), then doubled it again on TikTok Live without changing contents much. We at NEXAS couldn’t utilize those dynamics effectively.

• Feature-Focused Agencies Could Be the Future
Instead of full-spectrum management, focusing on specific functions like sponsorship sales, merch, content production, or mental health support—and generating revenue without taking a cut directly from the talent—might be the sustainable path. That does deviate from the traditional approach of a VTuber agency “creating” new IP from scratch, but you can have an agency that specializes in “expanding” or “monetizing” IP. (Then it's not a vtuber agency, that's just a marketing agency)

Ending NEXAS’s Role as a Talent Agency​

• Officially Closing on January 31, 2025
For talents who wanted to keep their avatars, we gave options to keep the rights so they could continue independently. A lot of people worked hard in so many ways, and I regret not being able to nurture each person or make our vision of growing both individual talents and the agency a reality. We ended up causing a lot of confusion with our sudden closure (No I think most people saw it coming a mile away, if your talents were confused then they truly are dumb as rocks), and I feel incredibly sorry. I genuinely hope they keep working toward their dreams at their own pace.
The week I had to discuss the closure and contract terminations with the teammates who had supported me since the early days was simply one of the most humiliating and painful moments of my life. (They were probably glad it was over)

• Response to the Closure Announcement
In early December 2024, we announced the closure. Some people said, “I knew it wouldn’t last,” (I am glad you spend your time lurking and trying to find any slightest bit of criticism, really shows how fragile your fucking ego is) but overall, many asked, “Why shut down?” and expressed disappointment. I’m grateful that we managed to gain supporters in such a short time. Thank you so much for believing in us. (Shows people have no standards)

Rebranding NEXAS​

• The Overseas VTuber Industry Continues to Grow
During NEXAS’s operations, we built a valuable network with agencies and indie talents in North America and Southeast Asia. I still believe in the potential of this global VTuber market, even if the approach of running an agency wasn’t the right fit. While people in Japan might not know much, on Twitch, one of the top channels with the highest number of active subscribers is Ironmouse from VShojo. Another example: filian’s videos, including clip compilations, get over 100 million views a month. The top talents are quickly moving into the cultural mainstream. (I think people in japan know very well that the biggest vtubers are all japanese, because vtubing has always been bigger in japan and will likely always be, and if ironlung didn't sleep on stream and do 200 hours a month or whatever she'd never even approach people like pekora or kuzuha)

• A Global VTuber Agency Model
Building on the network and brand we have, I want to become the first company brands call when they want to do a cross-border project involving VTubers and anime-style influencers around the world. That’s my vision for now.

(Bro goes on to detail his plans to scam children in roblox and rebrand his failed corpo into some other nonsense that will also fail because its purpose requires 5 paragraphs to explain and its still vague even after that)

Conclusion — Moving Forward After Failure​

Our one-year attempt at running an English V-Mobile live-streamer agency ultimately ended in “failure.”
During that year, I kept running into walls, painfully aware of my own shortcomings, as I tried to shape the business. It was mentally tough at times, but I also learned an enormous amount. (No you didn't)

If you’ve read this far, thank you so much:
• If you want to do any anime- or VTuber-related promotions abroad
• If you want to leverage IP in Roblox
• If you’re curious about cross-border, creative ventures connecting Japan and the world
• Or if you’re simply interested in me or forCreators itself
Please feel free to get in touch for any reason. I’m still lacking in many ways, but I’ll keep moving and searching for the next big opportunity. (As any good snake oil salesman does, the motherfucker cannot properly die and fuck off without selling you something)

Thank you so much for reading up to this point! (Fuck you for making me waste several hours of life doing this, a "I fucked up seeya" would've sufficed)
And to everyone who supported or was involved with us, thank you from the bottom of my heart!

To the Talents Reading This​

I truly apologize for dragging you through so many changes. Seeing everyone create content day after day while dealing with their own struggles gave me enormous strength. I sincerely hope you’ll continue pursuing your dreams at your own pace.
Finally, this article is not meant to blame anyone, at all. This is just a self-reflection to acknowledge my failure in company management and my failure to build a better operational system that could have sustained the business I originally envisioned. However it is still something I can learn from for my next ventures.
(To the ex-nexas 2views unlucky enough to lurk this site and read this, no he fucking doesn't, he doesn't give a shit about a single one of you nor does he regret anything, as the techbro scammer does, he's just gonna go out to scam someone else. The only thing he regrets is that he couldn't run off with as much money as he wanted)

I fucking hated every minute of that, this must the most whiny, pompous, scummy piece of shit I have ever come across in this industry, fuck him and may his family line experience 1000 years of bad luck. May you derive some sort of amusement or comfort from my despaired comments on this document, FUCK YOU HARRY.

 

[Focasha9486]

Not sure what happened and it seems to already be over (only found out because some of the tweets got posted in purple keemstar's server), but something likely NEXAS related seems to have happened to Wendy Wanderful over these past 2 days? Speculation on the server being that she didn't stream enough hours as mandated by contract so they weren't going to give her the IP, or something along those lines, but that she somehow convinced them to let her keep the IP. Her PL (https://x.com/insomNEO_) also reactivated on the same day as the graduation announcement.

While normally I'd wonder why they'd want to potentially keep some of the models, the fact NEXAS already resurrected in a new form and Harry has 0 plans on giving up despite hi trash PR and reputation, it makes sense.

 

[addamelech]

Ill recycle a joke

Hello it's me the CEO of defunct company Pump-V-Dump

Upon reflecting on my mass suicidal first generation of talents I went to my penthouse in Dubai with an assortment of high class escorts in a private kamasutra meditation session in an open bath to really clear my mind and analyze what went wrong in my little itty bitty negligible domestic venture