I would like to make a rrat joke here: Phase Connects talents might be received more than 2% of revenue from their shitty coffee bean sales
"Do you want me to choke you with my neck? Oh mah god I'm getting superchats asking me to choke them with my neck"Selen Tatsuki
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Offkai 2024 now has its own Events thread.
Hololive's WolfMom Ookami Mio is out of commission due to an unnamed health emergency that started April 28th. Scheduled events are being canceled, and no ETA for return is named as of yet.
Seth of MSN Talent responds to the allegations against him by Krimbo and FalseEyeD. UPDATE: At least one major talent is now defending Seth. -
Local fans of a certain pink lagomorph mold golem are yet again attempting to plot another debut anniversary project with only a month to spare. User Planetary Bombardment is willing to offer compensation to whomever steps up to actively lead and be the editor for the project. Contributers, artists, and ideas welcome. No yabbits allowed.
The Termination of Zaion LanZa
- Thread starter The Rrat
- Start date
If this is true I'm rrating that Zai and Kotoka agreed for Kotoka to feign abandoning Zai to protect Kotoka from the antis and then Sayu unsubbed her to sell it
That said if anyone hasn't seen yet here's my deep dive on the Sayu stream from the containment thread
Currently running through the vod again will update this with all the relevant info including what was already posted for completion's sake and for a one stop post to get everything I'll make sure to note when I'm done
Finished and I didn't hear anything about or could be construed as Zai causing a rift in Niji unless we are counting that fact she still has friends thereZaion had no idea she wouldn't fit in with the work culture of Niji
Neither Sayu nor Zaion have any hate for corpo vtubing. (shouted out Idol and Phase)
Niji is just based in Japan and there was culture clash and different laws.
Defended finana indirectly Sayus mental state can make people she is seeking help from feel gaslit into helping.
Not against joining another corpo in the future but she doesn't want to cause trouble for other people.
Chat called her a "Void vtuber"
Parrot: the void stares back
Sayu: "I see you Parrot loved the video"
She said that Zaion got in trouble so much that she instinctively developed a habit of staring at her phone during streams expecting a bonk.
Playing the genmate cover being bad was the copyright law in japan
"Ethyria can't even play their group song on stream without perms"
"No one should deny Zaion did make a lot of mistakes but a lot of them were due to culture clash"
Zai and Sayu have both worked with multiple lawyers in the past, (sponsorship contract review) and she hard confirms that lawyers were involved in the statement.
Things were left out of the doc because Niji did not bring them up so best left unknown. Was 35ages long
"It's impossible to avoid to infringement on an NDA when addressing things you can only minimize the risk with lawyer help."
She is confident that she is not gonna incur a lawsuit by talking about anything she has said in the stream thus far
"Is Zaion still close with anyone from niji? Maybe she is but for those people's sake she won't share that right now"
Chat Mentioned red light districts in Japan
Sayu how they can be dangerous for women (I think this is that sexism comment people mentioned I don't think it's niji related)
Quote break
Sayu Sincronisity | "I can't say deez boobs alright? It doesn't roll off the tongue"
Sayu Sincronisity | "I'll take nuts in just about anything put your nuts in anything and I'll eat them... Wait"
Zaion spent 2 months on her statement
Avoided answering a question about VT calling niji in a CN chokehold "I don't use those sites"
Parents adopted her after 2 miscarriages. Born in Japan adopted to America. Adopted from hospital her birth mom was very young and she was not married
Tracked down her birth mom address.
wants to meet her but is afraid.
Does not know father
"Why didn't you stop rome from falling"
This was an old age joke, cause the chat was calling her old.
She mentioned the leaning tower of pisa and that she was there but did not tell anyone it was leaning so that it would be as memorable as it is "would anyone even take notice if it weren't leaning it adds an extra pizzaz"
(I don't think this has anything to do with Nijisanji)
Sayu Sincronisity's chat | Please don't cancel Sayu we want to see a vod on the channel.
Zaion had a lot of covers that never got finished.
Zaion thanks everyone for the support and kind dm's
Says if all this never happened then a lot of the chat would never had found Sayu so bright side
Oshi mark is a nut because she is a "half robot" (cyborg) "broken fuckin goods" she also hates technology "it messed me up lore video coming not soon"
Dextero article on Sayu and Zaion (Sayu has not read it)
Sayu Okami releases statement following Zaion LanZa NIJISANJI termination - Dexerto
Sayu Okami has just released a statement detailing VTuber Zaion LanZa's infamous termination from NIJISANJI.www.dexerto.com
Deez nuts is a long running Sayu meme predating Zaion.
"I have Two jokes deez nuts and your mom"
" I will love you forever if you bring me cookies"
She was talking about not being able to get girl scout cookies in where she lives in California since COVID, and said it would be funny since Zaion "got doxxed to hell if someone delivered her girl scout cookies"
More Silver linings
Morbidly Noted her other cat is noticably happier after Hakus death. Despite being happy before just noticably more so
Haku used bully her so it makes sense
OSHI SHILLING TIME
Looks up to silvervale (wonder why)
Known Flayon a while "he's a good guy"
Likes Pippa (Pippa love) "she's just being herself and I like that"
Respects Kson
She wasn't a huge fan of Bae until she tore up the stage at 4th fes impressed by her singing and dancing "new oshi"
Respect for Rin Penrose "she encompasses how good corpo vtubing can be"
there are people she still looks up to and loves as friends who's name's she doesn't know if she can say yet (friends at niji) for their safety from (Twitter I imagine rather than management)
Likes Shondo "she's very sweet"
Respect for U-San (Yugo Asuma) especially as an artist also U-San has a lot of musical knowledge "you can tell U-San knows what he is doing when he makes music"
Didn't know Idol Showdown came out wants to play
Asked where to download
"Neuro-Sama Collab would be fun"
BIG praises for Merryweathery
" incredible person" "incredible to work with "always been someone who puts the livelihood of the people above everything else even above his well being"
"Merry has always been such a huge supporter of all the people he is friends with that he loves"
"She feels bad people give him a hard time too and she wishes they wouldn't "
Seems like Merry was a big supporter of Zaion during her issues based on this cause she seems to be dancing around it real hard, so Ok Merry you are an idiot sometimes, but because Sayu vouches for you, you are ok in my book
She then shat on him for mogging her (Zaion) with Photon dragon decks
"people can bully him when he does that"
Loves Shylily "she's so sweet" "known her for a little while"
Knows of Altare "can't talk about corpo people much can't reveal how much a friendship or not to any of them yet"
" Maybe later but not now"
"Sykkuno is funny" likes his model
Doesn't know much about any other phase girl
Was friends with Shoto a long time ago but haven't spoken in long enough that she doesn't know for sure anymore
"doesn't want to claim friendship with anyone she hasn't talked to a lot or does not know super well for their sake in order not to step on toes"
Porcelainmaid is " really good guy really good friend" "very kind guy"
Kobo is "funny as heck" wants to meet her
Has a lot of respect for Miori Celesta " talented singer musician"
Chikafuji Lisa is also talented
This be a big'n I transcribed what she said almost word for word
Me: "Do you think you'll ever be able to Collab with your friends you don't want to talk about"
Sayu: maybe... after putting out the announcement we will see how a lot of them feel.
Similar to how Zaion felt she doesn't know what her friends think of her now or how they feel about her um it's more a question of yeah like how many of them want to be friends, or still be friends, or interact more, or less, and things like that. It's up to them
I want to leave it up to them as well, there are a lot of people who have reached out, and I really appreciate it, and i hope we'll get to hang out one day.
It's hard sometimes cause there are a lot of people you can be friends with or that you are probably friends with that you can't... you know you can't publicly put out there, because like for their sake, or your sake, or you know for their job cause sometimes you have to treat it like a job right? Yeah so it's unfortunate hopefully tho it'd be fun to just hangout with all our communities, with all you guys"
So I think this is her saying that collabing with her secret friends would ultimately be up to them, which tells me any hangup would be them personally worrying about their rep rather than if Niji would allow
She seems optimistic about it as much as I am so I have hope. If only to know who in Niji specifically deserves boosts in respect from myself for sticking by Zai. (I'm sure Doppio is one given his silence and I'm pretty sure they were close in Niji)
"Zaion went off to a different world and maybe we'll get to see what happened"
" Erasing mistakes should never be the goal only to learn and grow from them"
She checks all dm's of you send a dick pic she WILL see it
Chat: is that a challenge?
Sayu: uuuuuuh doityouwon't
2%? That is absolutely fucked, and worst than superchat...... I hope this is not real, otherwise Niji could not recovered from ponchi/pyramid/black company image
Edit: To evaluate more, their merch are super meh, not creative enough to attract consumers to buy it. I don't know how they have the audacity could ask for 75 USD, and their talents only get 1 or 2 dollars
Could it be because Niji's way of making merch is less about personalized merch and more on the company using livers as their branding itself (contrary to Hololive's personalized birthday/anniversary merch) so the livers itself doesn't get a hefty cut out of it compared to seasonal/monthly voicepacks stuff? Even so, that's still a horribly low percentage though.
I also wondered if this cut applies to the merch sold via BOOTH since from what I know, the livers were the ones who came up with the designs which were then handed over to BOOTH's own factory for the production side
Given the reports from Japan about how much Nijisanji merch is actually in stores, it's possible the Merc Split is designed differently. If the cut is more designed about Price of Sale to stores with the chance it'll be returned, the 2% might actually just be off the sale price from Nijisanji to stores without any backside penalty. If they then moved that across to the Web-based stuff shipped outside of Japan (because why would you ever think to operate splits in different ways in different venues!), it could explain why the EN side views merch with such low value.
Nijisanji also seems to view Merch in more of a standard retail/mass market approach, while Hololive is very much in the Japanese DVD/BluRay type of Collectors Market approach. Both approaches have validity, so I'd be concerned about over-extending what we understand about the contracts. That said, minimal ROI for your creators to sell merch is a great way to not sell merch.
Honestly strikes me as pretty meaningless on its own. We know there are instances of the corp taking 100% of merchandising revenue but no cut from SCs/memberships (VOMs). Unless we know all splits/total revenue split, this is just a single datapoint that says little about the company payout value as a whole.
And it is important to remember that Pomu explicitly calls voice packs the best way to support the talents in the very same clip she says merchandising is the worst way to support them.
The talents only getting a 2% share explains why Niji talents don't put the same effort into individualised merch that Holos do. But that's about it.
And it is important to remember that Pomu explicitly calls voice packs the best way to support the talents in the very same clip she says merchandising is the worst way to support them.
The talents only getting a 2% share explains why Niji talents don't put the same effort into individualised merch that Holos do. But that's about it.
VShojo operates the same way, they pocket all of the money from official merch but nothing from donations. Kson has also said that they don't take anything from self-produced/collab merch, but I don't know if that's universally true. It's easy to shit on Niji by comparing this merch situation to Hololive but I have a feeling that the way they operate (talents fund production costs -> get much higher percentage of revenue) is an exception rather than the norm. I'd be interested to know if any other JP corpos have talked about this - I'd assume that Phase/Idol Corp/etc operate differently.
Another random point regarding Niji voice packs: if you buy via Booth they take a small percentage as commission, but there's also the possibility to add a tip to the purchase which goes directly to the member, up to 100k yen (around $741 as of today). There's a good reason that they are the #1 most shilled form of merch.
Yagoo himself has mentioned the difference in how they handle merch and has stated that Cover focus moreso on made-to-order birthdays and anniversaries, and that the talents have a bigger influence on what products come out.
I have read somewhere that Cover actually loan the money to the talent and then recuperate it in sales - which makes the most sense - but it also means that Cover are probably recuperating production costs, VAT, shipping, licensing and their own cut before it reaches the talent. And while I don't think the cut Holomem end up with is 2%, I don't think it'll be as high as 50/50 either because of that.
Nijisanji, on the other hand, are aggressive with their production of voice packs. There's a new scenario every few weeks where the livers get their 50/50 cut (I don't think they use BOOTH anymore for digital but I might be wrong).
Physical merch like their Welcome Goods and Birthday Goods are not only mass-produced, but they also don't use the liver's direct income. They use Anycolor's income. Anycolor produce the acrylics and badges and frames themselves and so it makes sense to me that the livers get less out of that (though there's a valid argument that sales of said merch is entirely dependent on how well-received the person is). I don't think this extends to Anniversary Goods which have the input of the livers. Pomu is releasing her headband, Elira a nice pincushion, Finana a pouch, and their 2nd Anniversary also has the first Made-To-Order merch which is a Music Box that plays DCL. This is why I'm more keen to believe Tomoe's description of a 'fluctuating cut depending on certain factors' than False dropping a 2% figure with no context at all.
It's also worthy of note that, on a yearly basis, there are dozens of voice packs, and only a couple of physical merch releases. Everyone in EN has only one birthday merch window, and new debuts only get their Welcome Goods at the start. Yes, Selen and others got acrylic stands for the Sakura Bloom event, but you know what else was in that event? Voice packs. Valentine's Day merch with Pomu's hairclip and the Finana/Enna/Rosemi rings? Also came with featured voice packs. Halloween 2022 acrylic stands were also revealed alongside voice packs.
So the overwhelming majority of first-party merch that gets released has a 50% cut. Nijisanji also have far more sponsorships and cameo appearances at conventions which they get paid handsomely for ($50 for 1 minute with them + Q&A ticket prices + signed autographs) and I seriously doubt those cuts are 2%. Nijis just make their money in different ways.
I think the nature of the medium can easily create a distorted view of what the talents really are, contractually to the agency at least. Here’s an admittedly, rather harsh view based on my understanding of how it usually goes.
Overview
The talent agency basically acts as a rightsholders for IPs that they create (design, models etc.). They increase the value of their IPs by assigning them a full-time marketer (the talent) who then advertises said IP (usually via livestreams), and for their performance and services, are paid a commission based on a metric (usually donations, which conveniently means the company never loses). The agency then leases the IP that’s now increased in value out for licensing/merchandizing operations.
IP ownership
The crux of the matter is the IP is owned by the talent agency, and with the talent simply being a marketer that’s paid for their efforts in marketing, it not only becomes obvious that the talent won’t get to keep the IP should they leave (why would the corpo give away their main product to an advertising contractor?) but also why the talents don’t really get much out of “traditional” merch, or the IP being licensed out, such as game crossovers: it’s the IP owner licensing out rights they fully own, with the advertising fees being done and paid for already. In a crude sense, the talents are being paid a commission to do the job of making livestreams to advertise the IP, but aren’t given “shares”, so any profits post facto aren’t awarded.
The low merch cut
In this model the talents are contractors, being paid for the work they put into advertising the IP, with “traditional” merch like keychains, acrylic stands, and posters etc. being on the low end and voice packs being on the high end. After all, while there is a need incentivize (read: pay) the talent to voice act the packs, or perform parts of crossovers or concerts, the same doesn’t really apply for the “traditional” merch. Other than perhaps mentioning it on stream, given the agency already owns all the IP rights, they could at minimum systematically slap the existing model and asset art onto the standard varieties of cookie cutter merch, or simply license the operation off to an actual marketing agency that specializes in merchandizing.
Talents paying for their own stuff (@Nabeshin)
Given the above, it’s clear that both the talent and agency implicitly agree to enter this agreement as some form of long-term contract, where both parties invest resources into the IP for future profit. However, with the talent being a contractor, instead of co-owning the IP, the issue of talents investing financially into the IP becomes an issue. Of course, it’s expected for a contractor to pay for the tools of their trade and operations, things such as getting a PC and proper internet would fall under that, but the issue lies with things that are attached to the IP, because in effect the money spent is “put into” the IP, and is no longer owned by the talent.
This is much of a grey area, and I’m not sure if talents are allowed to reuse stream overlays, BGMs, or even game accounts (especially those with large sums of time/financial investment put in) they’ve purchased for use with the IP elsewhere, although I’m not aware of it being disallowed. As for anything else explicitly attached to the IP, such as custom artwork or animations for their backstory, that’s money that the talent as directly invested into the IP, something which they do not own.
The pyramid scheme impression
The problem becomes rather important in cases of early termination, especially in cases where it is seen as unwarranted, as the dynamic is such that while both the talent and agency have the expectation of a long-term investment, the agency is the one that ultimately gets to keep the IP, including whatever the talent has invested into it.
Even if the agency doesn’t use the IP, it doesn’t change the fact that they still own the rights to it and thus has the power of choice; either to not realize the potential profits of their investment, attempt to reuse it elsewhere or whatever else they wish; contrary to the talent that has no such choice; if this is a good business decision, is another matter. Similarly, while talents aren’t required to spend money on their debut, and it’s possible to have a successful debut on a low cost, it doesn’t change the fact that they have made a good faith investment into the IP; and once again it’s another matter if investing in a debut is a good business decision.
Possible mitigations, alternate industry practices etc.
For how this could be dealt with, I’ll draw parallels to how tax cuts for business expenses are done, in that the taxation is only applied on the profits, after deducting the cost of business. As long as there isn’t any fraudulent activity, the idea that it’s technically possible to make an investment work with less investment isn’t really questioned, as it’s up to the investors to assess their business strategy, with loss leading business plans having been proven to work. In a more extreme cases, it’s not unheard of for courts to even except ridiculous amounts of expenditure towards mobile gacha games as a streamer’s business expense, but that’s a story for another day.
In the current context where the agency and talent work closely and are able to discuss and negotiate, the main question becomes if the agency allows talents to “write-off” the revenue cut based on their own expenditure vs the agency’s, with commission rates being based on actual profits, since buying something and putting it into an IP they don’t own, and still having to pay the agency’s cuts could be viewed as unfair.
In essence, by reimbursing both the talents and agency’s business expenditures first before handing out profits, neither party feels like their investment is going to the other’s profits before their own costs are recouped.
Possible effects
As for the impact of such policies, such as encouraging talents to take risks and spend money on trying out new/creative ideas, how it affects public perception and recruiting, or how it affects talent morale and hence their output, I’m not going to speculate, but simply leave it as points to consider when analyzing how different agencies run their operations.
Addendum
I’d say there’s an important distinction to be made between labor and materials, i.e., streaming and being and entertainer, vs assets for the given IP. Should the talent’s performance commission, other than paying for their labor, include the cost of materials; or if the talent should be able to, with agreement, bill the agency for materials (given that the materials essentially get attached to the IP, which the agency owns) is worth considering.
Overview
The talent agency basically acts as a rightsholders for IPs that they create (design, models etc.). They increase the value of their IPs by assigning them a full-time marketer (the talent) who then advertises said IP (usually via livestreams), and for their performance and services, are paid a commission based on a metric (usually donations, which conveniently means the company never loses). The agency then leases the IP that’s now increased in value out for licensing/merchandizing operations.
IP ownership
The crux of the matter is the IP is owned by the talent agency, and with the talent simply being a marketer that’s paid for their efforts in marketing, it not only becomes obvious that the talent won’t get to keep the IP should they leave (why would the corpo give away their main product to an advertising contractor?) but also why the talents don’t really get much out of “traditional” merch, or the IP being licensed out, such as game crossovers: it’s the IP owner licensing out rights they fully own, with the advertising fees being done and paid for already. In a crude sense, the talents are being paid a commission to do the job of making livestreams to advertise the IP, but aren’t given “shares”, so any profits post facto aren’t awarded.
The low merch cut
In this model the talents are contractors, being paid for the work they put into advertising the IP, with “traditional” merch like keychains, acrylic stands, and posters etc. being on the low end and voice packs being on the high end. After all, while there is a need incentivize (read: pay) the talent to voice act the packs, or perform parts of crossovers or concerts, the same doesn’t really apply for the “traditional” merch. Other than perhaps mentioning it on stream, given the agency already owns all the IP rights, they could at minimum systematically slap the existing model and asset art onto the standard varieties of cookie cutter merch, or simply license the operation off to an actual marketing agency that specializes in merchandizing.
Talents paying for their own stuff (@Nabeshin)
Given the above, it’s clear that both the talent and agency implicitly agree to enter this agreement as some form of long-term contract, where both parties invest resources into the IP for future profit. However, with the talent being a contractor, instead of co-owning the IP, the issue of talents investing financially into the IP becomes an issue. Of course, it’s expected for a contractor to pay for the tools of their trade and operations, things such as getting a PC and proper internet would fall under that, but the issue lies with things that are attached to the IP, because in effect the money spent is “put into” the IP, and is no longer owned by the talent.
This is much of a grey area, and I’m not sure if talents are allowed to reuse stream overlays, BGMs, or even game accounts (especially those with large sums of time/financial investment put in) they’ve purchased for use with the IP elsewhere, although I’m not aware of it being disallowed. As for anything else explicitly attached to the IP, such as custom artwork or animations for their backstory, that’s money that the talent as directly invested into the IP, something which they do not own.
The pyramid scheme impression
The problem becomes rather important in cases of early termination, especially in cases where it is seen as unwarranted, as the dynamic is such that while both the talent and agency have the expectation of a long-term investment, the agency is the one that ultimately gets to keep the IP, including whatever the talent has invested into it.
Even if the agency doesn’t use the IP, it doesn’t change the fact that they still own the rights to it and thus has the power of choice; either to not realize the potential profits of their investment, attempt to reuse it elsewhere or whatever else they wish; contrary to the talent that has no such choice; if this is a good business decision, is another matter. Similarly, while talents aren’t required to spend money on their debut, and it’s possible to have a successful debut on a low cost, it doesn’t change the fact that they have made a good faith investment into the IP; and once again it’s another matter if investing in a debut is a good business decision.
Possible mitigations, alternate industry practices etc.
For how this could be dealt with, I’ll draw parallels to how tax cuts for business expenses are done, in that the taxation is only applied on the profits, after deducting the cost of business. As long as there isn’t any fraudulent activity, the idea that it’s technically possible to make an investment work with less investment isn’t really questioned, as it’s up to the investors to assess their business strategy, with loss leading business plans having been proven to work. In a more extreme cases, it’s not unheard of for courts to even except ridiculous amounts of expenditure towards mobile gacha games as a streamer’s business expense, but that’s a story for another day.
In the current context where the agency and talent work closely and are able to discuss and negotiate, the main question becomes if the agency allows talents to “write-off” the revenue cut based on their own expenditure vs the agency’s, with commission rates being based on actual profits, since buying something and putting it into an IP they don’t own, and still having to pay the agency’s cuts could be viewed as unfair.
In essence, by reimbursing both the talents and agency’s business expenditures first before handing out profits, neither party feels like their investment is going to the other’s profits before their own costs are recouped.
Possible effects
As for the impact of such policies, such as encouraging talents to take risks and spend money on trying out new/creative ideas, how it affects public perception and recruiting, or how it affects talent morale and hence their output, I’m not going to speculate, but simply leave it as points to consider when analyzing how different agencies run their operations.
Addendum
I’d say there’s an important distinction to be made between labor and materials, i.e., streaming and being and entertainer, vs assets for the given IP. Should the talent’s performance commission, other than paying for their labor, include the cost of materials; or if the talent should be able to, with agreement, bill the agency for materials (given that the materials essentially get attached to the IP, which the agency owns) is worth considering.
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The company owns the copyright on the model and the character, she can't use them without their permission. Maybe she owns some copyright on the debut video if she commissioned it, but that doesn't help her much - it means Nijisanji can't do anything with it without her permission, but since it contains their copyrighted character she can't do anything with it without their permission either.
I am a day late and a dollar short but I do want to say that the title of the FalseeyeD stream has warmed me up to him.
I can hear him get smug over a company thats copyright fucked him and can see it in the title too and I fuck with it. “A Colorful Story” may be one of those fun titles that gets lost to history but I want it known that I appreciate the petty little dig.
I can hear him get smug over a company thats copyright fucked him and can see it in the title too and I fuck with it. “A Colorful Story” may be one of those fun titles that gets lost to history but I want it known that I appreciate the petty little dig.
Reminder that this is the same guy that casually talked about PLs on camera but gave Nousagi shit for it and even lied about him having links to doxes in his videos.
True but False said it while not sounding brown.
I do thank you for the reminder of why I initially had distaste for False. I had nearly forgotten.
Cross-quoting to the termination thread.
I said a few days ago that it would be extra spicy if Sayu had a Japanese version of the doc. If I were her, I would have waited until both were ready and dropped both at the same time, so I wasn't expecting her to actually do it. Maybe she was ego-surfing on 2ch? Someone posted a thread here earlier. Idk.
Boo. But to be fair, I wouldn't know where to start.
Archive link proving that the document existed at that URL
Local PDF copy with chapter headings attached
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Nuxtaku just uploaded a video about the whole Zaion situation.
He mentions in the video he might take it down later, so here's a catbox copy, as even compressed down to 480p the video's too big to attach to a post. I'd recommend making your own copies to be safe.
As annoying as a lot of people find Nux, I like that he's put the story out there. Between the Zaion termination statement and them issuing copyright strikes to drama channels there's a clear pattern of Nijisanji trying to suppress any information that portrays them negatively, so a YouTuber with over two million subscribers putting a spotlight on it is probably making the company feel very uncomfortable right now. Allies in strange places, I guess.
Why the hell would he take it down? What makes his content different from what False and other dramatubers have said?
I think he was making a tongue-in-cheek comment implying Niji were gonna threaten him, but I figured better safe than sorry.
Zaion was definitely a part of it but it's more a video about how corpos can slander and mistreat people and hide behind NDA's so the victim can't clear their name. He talks about how people tend to assume silence from the accused is a guilty admission when that is not always the case.
He has said these more serious black screen thumbnail vids are more controversial than his normal content so he worries about keeping them up publicly
In this one he talks about how YouTubers act friendly in public for their image but will backstab their "friends" for clout (reminds me of the silver callouts to fake friends and the obvious backstabbing of himself)
And this one he talks about the Kwite situation and false sex assault allegations in general
And here he shines a light on YouTube shadow banning
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