Book Marks: No Jail For 'Script Thief, Plus Annoying Things About Books

Either someone was listening to the Literary Hub or perhaps the crime wasn't severe enough: Infamous manuscript thief Filippo Bernardini won't be jailed for his little scam where he tricked people into sending him unpublished 'scripts so that he could read them before anyone else. According to the Guardian:

The former publishing employee, who worked for Simon & Schuster in the UK – the company has not been implicated in any of Bernardini’s crimes – had said in court documents that he had a “burning desire” to feel like he was a publishing professional. He added that he had no desire to leak the manuscripts he acquired.

Instead, Bernardini has been sentenced to three years of supervised release, after which he will be deported.

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The Internet Archive has been operating on an open library concept where people can sign up and borrow digital copies of books. I was pointed to this place when I asked about books I can read for reviews or at least cross-check details such as ISBNs. Publishers aren't happy about this, citing copyright infringement, and recently a US court ruled in their favour:

“The publishers have established a prima facie case of copyright infringement,” writes Judge John G. Koeltl of the United States district court in the Southern District of New York in his 47-page decision, which includes a firm rebuke to the controversial concept of “controlled digital lending.”

IA isn't shutting down yet and of course I'll be tracking this.

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Roald Dahl, Ian Fleming, and now Agatha Christie? Yes, sensitivity readers are taking their scalpels to the works of the doyenne of crime fiction "in new editions of Poirot and Miss Marple mysteries published by HarperCollins."

I'm not a fan of this move and I might talk about this in more detail later. This risks putting new generations of readers in the dark of what these works read like originally and the kind of environment that shaped the minds of the authors involved. Whitewashing the past, that's what this is.

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Claire Handscombe at Book Riot talks about things readers find annoying about books. And she has quite a bit to say, having been...

...a writer, a bookish podcaster, a blogger, a Book Riot contributor, a bookstagrammer, a bookseller, and a marketing exec in publishing. So this is my world, and I love it.

But I love it the way we love our families. We know they’re not perfect. Sometimes we fondly or exasperatedly laugh at how not perfect they are. There are things that drive me round the bend about this whole word and its absurdities.

In other news:

• Here's a story of a widower's quest to keep his late wife's book alive, captured in his son's documentary, The Book Keepers. This looks like something many of us should watch: a dad's labour of love, told through his son's – at least, I hope so regarding the latter.
• This year's shortlist for the Stella prize, which celebrates “original, excellent, and engaging” writing by Australian women and non-binary writers, is dominated by books from small and independent publishers.
• For writers and authors at various stages and of all stripes, Electric Literature introduces seven newsletters that "offer the best insights and advice from abstract aspects of publishing to the smallest details, including market analysis, writing query emails and proposals, navigating contracts, marketing your work—and don’t forget much-needed emotional support and a laugh or two."
• Not one mention of chatGPT or AI in an op-ed titled, "Take That, ChatGPT!". Genius? I'm not sure. But how it just goes on.

Book Marks: BookTokers, Marketing, Stories Out of Time

BookTokers have been a hit for a while, especially those with ton of followers. Vox speaks with several BookTokers and dives into the trend to see why it's so popular.

One BookToker, Satoria Ray, says one main reason for BookTok's apparent persuasiveness is that "the average person on BookTok isn’t getting paid to give their reviews...

"There aren’t these big influencers with huge followings and all these brand deals and sponsorships flying all over the place. It’s usually a person in their car who just got out of work and is like, ‘I was reading this audiobook and I really enjoyed it.’ It’s moms who are cleaning the kitchen and just put the kids to bed and are like, ‘Hey, I just read this really cool book.’

That’s unique to BookTok.”

Even if some BookTokers could be paid to promote books on the platform? I guess that segment probably graduated to another level after making videos for some time, and who am I to say it's not "authentic" enough, as long as viewers are buying the pitches and the books being pitched? Well, let's hope for the best for these content creators, especially those in the United States as the spectre of a TikTok ban looms.

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Developmental editor Laura Portwood-Stacer, author of a guide to crafting a compelling scholarly book proposal, speaks with Princeton University Press's Assistant Promotions Director Maria Whelan about aspects of book promotion and how authors can collaborate with publishers on marketing and PR. Books don't sell themselves, and many authors are either oblivious to the need to market their books and themselves, or can't afford to put much into marketing.

Speaking of which, here are some tips on self-publishing and marketing your children's book, courtesy of author Karen Inglis. Or, if one prefers, given the advent of technology, an AI-powered book marketing tool – say hello to Ida, folks.

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Samira Azzam was a Palestinian writer, broadcaster and translator whose collections of short stories were acclaimed during her lifetime, only to fall into obscurity after her unexpected passing in 1967. A selection of her stories, translated from Arabic, has been published in a new collection titled Out of Time.

“When I first started reading her work, I found them strong and compelling,” translator Ranya Abdelrahman tells The National. “They are on the surface about people's everyday lives but her characters are so vivid. They make you think. These are stories that were written more than 50 years ago, and yet, I found them so relatable and relevant. That's the mark of really good literature. It stands the test of time.”

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Sarawak-born Nadia Mikail's debut novel The Cats We Meet Along the Way, about a teen's road trip through Malaysia set against the backdrop of a looming apocalypse, won this year's Waterstones Children's Book Prize in the older readers category and was named the overall winner. Nadia's anxieties over her family during the early days of the COVID-19 pandemic gave rise to the book: "In the midst of trying to kind of work out those anxieties through writing, I realised the only thing we can do is care for the people we love every day and hope for a better future for them even when things seem hopeless.”

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In a candid video, Xiran Jay Zhao answers why the sequel to her bestselling Iron Widow, a sci-fi/alternate history mash-up of Pacific Rim and The Great Wall with miscellaneous hitsorical Chinese figures, is delayed. She claims the way and how much royalties are paid in the publishing industry left her with months of no money, forcing her to take gigs that paid sooner and thus delaying the release of Heavenly Tyrant. Considering the glacial agility of traditional publishers, Zhao's situation won't change soon, but one can hope.

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One sees notices on the copyright page of a book, but a prohibition to share the book and "if you want a copy, buy it"? Such a notice was found within the Zodiac Academy fantasy series, which has predictably drawn public ire and ridicule because, well, libraries? BookXcess-type stores? And friends share books with friends, too. It would be no surprise if this case was in the United States, arguably the most litigious country on the planet where even grapes have an end user licence agreement. Almost everyone involved with the book washed their hands off that "Do Not Share" notice, which is still inside one volume of the series on Amazon.

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Beijing-based OpenBook, an industry-data research firm, released charts of bestselling titles for February 2023, which I presume is for the Chinese market. Looking at lists from outside the West can be illuminating, but some common threads remain in reading trends, like the sellability of movie tie-ins. Headlining the article is how such a novel, based on a most-watched crime drama series, pushed Liu Cixin's title from the number one spot.

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Discussions over the use of AI in writing point include loosening one's writing gears but one author who doesn't appear to need such help is Amy Daws, whose book, Wait with Me, is about to be made into a movie. The inspiration for that book came to her while she was waiting to get her car serviced. If only more of us were visited by the muse in such convenient times...

Ghostwriter In The Machine: Much Closer Than We Think

Just days after my piece on ChatGPT's use in writing books went live, more developments in that field emerged. The AI interface is now cited as an author of more than 200 books on Amazon, and that number is set to grow. But over at Inside Hook, they aren't too concerned about AI overtaking humans in writing books:

As long as these books are properly labeled and part of Amazon’s self-publishing milieu, this might be more of a novelty at the moment. And we still approve of ChatGPT as a tool, even in publishing — but given that the program is still riddled with mistakes and odd errors, skilled human writers and editors are still 100% necessary, even for the most mundane of guides (or bad space erotica).

I'd have agreed with this a couple of weeks ago, except that OpenAI has announced the arrival of GPT4, said to be the advanced version of the AI model behind ChatGPT. Now some, like Kenneth Whyte at The Whig, are predicting the impending end of the human author in several sectors, including journalism where pithy, punchy machine-made copy will do for readers struggling against a tsunami of automated output...

...all of it optimized to outperform human product in algorithmic searches. The machine story will be good enough for most people and for most purposes. The content churned out by today’s media companies will be somewhere between worth less and worthless, making it difficult for those companies to afford original, high-value human journalism.

This avalanche will extend to book publishing, according to Whyte's projections, as the internet facilitates the (self-)publishing of AI-assisted books in genres where literary flair isn't a prerequisite, such as "guidebooks, basic biographies, basic histories, basic personal finance, basic personal advice, basic diet and health books, puzzle collections, and how-to series." There's even an AI-powered book-marketing service now.

Similar bells are also tolling for audiobook narrators as firms offer libraries of AI voices for various uses beyond Waze direction prompts, smart appliances and virtual assistants.

Against this wave of intelligent automation, The Writers Guild of America, a labour union of writers in numerous media sectors, seeks to ban AI work from being used as source material and introduce measures to protect their writers from being made redundant by AI. The guild also claimed that "AI software does not create anything. It generates a regurgitation of what it’s fed" and that "plagiarism is a feature of the AI process".

All these aside, the AI tsunami is all but inevitable as technology becomes even more essential to our lives. Over time, as the trend takes off, more will use AI to create content under shrinking time constraints. As quantity grows, quality will matter less and less, up to a point where writing is no longer art or "artsy" but a mass-consumed commodity. "In a nutshell," Whyte states, "generative AI has the potential to destroy a lot of value in the literary world without producing a single great work of literature."

But just as one out of a million monkeys at typewriters will somehow create a masterpiece, trained AI models can make art if given enough chances. An acquaintance playing around with ChatGPT Plus is startled (as am I) but pleased with the results, albeit with a little tweaking, and is planning a volume (or several) of AI-aided short fiction and poetry.

Yes, writers can finally write more and write often with AI and some seem fine with that, like romance authors. As more embrace AI as a writing tool, more books will be produced and, presumably, more gems and new voices will emerge and get read, and publishers will have to take notice as genres that were once considered niche enter the mainstream through sheer volume of work and readership. Though I don't think AI can crank out a romance novel because the writing for that genre is "formulaic".

Perhaps what fogeys like me will miss about publishing once AI assistance becomes the norm are the variety in our editing-room war tales, the joy of discovering the elusive sparkle in the mire, and the cataloguing of writer snafus for memoirs that may never see the light of day. Where's the allure in sifting through the slush pile when everything looks immaculately machine-manufactured? And AIs don't make hilarious typos, do they? Nor are they likely to engage in witty repartee. Y'know, human things.

Well, plus ça change, plus c'est la même chose.

When the Gutenberg press was invented, it was a matter of time before books no longer belonged solely to the privileged. Then the internet happened and everyone can now be a writer, publisher, journalist, and opinion-shaper, for better or worse.

As treasure hunters of the literary kind, editors, publishers and agents now have a burgeoning galaxy of stars to search for the next supernova hit. The vastness of the infinite is daunting but I believe we're up to the challenge.

And it's not as if AI is infallible. There are cases where AI made mistakes and even amplified misinformation. Gatekeepers will not be out of a job, far from it. If the post-truth situation is projected to be as dire as this post says, we have our work cut out for us. Hiccups in these early AI assistants only mean we have more time to adapt.

Book Marks: The 'Script Thief, Awards, Regrets, Etc.

I used to do these "book marks" a lot when I was more active in monitoring goings-on in the industry that interest me, but seeing potentially multiple-figure counts of such posts tagged in the sidebar made me reconsider a few times. Then I hit a slump and stopped writing here for a while.

However, this habit helped to keep my toes in book- and publishing-related waters, so i'm getting back to it. And I have a lot to catch up on.

Let's start with the strange case of Filippo Bernardini, who stole hundreds of unpublished manuscripts, made ripples in the publishing sphere sometime back. Why would anyone want to pilfer 'scripts that would be kind of hard to monetise?

Recently, in a letter to a US federal judge, Bernardini claimed he stole the 'scripts because he wanted to read them. After failing to get hired at a literary agency where he had interned, he schemed to get people to send him manuscripts and it snowballed into a scam of sorts. But apparently his aim was not for profit:

“I wanted to keep [the manuscripts] closely to my chest and be one of the fewest to cherish them before anyone else, before they ended up in bookshops. There were times where I read the manuscripts and I felt a special and unique connection with the author, almost like I was the editor of that book.”

Kind of puts things in perspective for a certain segment of the publishing industry, doesn't it? And I speak as an editor of many books for a little over a decade. I've seen my share of 'scripts, some of it bad, and on certain days I wished I was doing something other than reading or editing them.

While some undoubtedly are calling for harsh penalties – theft of any kind in the book world is heavily frowned upon – someone at the Literary Hub thinks otherwise, because:

There are crimes and there are crimes, and this ... isn’t really a crime. Right? A lonely fantasist tricking a handful of agents into leaking manuscripts so that he can feel the illicit thrill of reading them a few months early is as close to a victimless offense as I can imagine. We didn’t send any bankers to jail after the financial collapse. No Sacklers will serve time for their part in the American opioid epidemic. Surely we can’t condemn this meek Italian bookworm to the depravity of the US prison system?

Not sure how much of this is tongue-in-cheek, but I think quite a few will get in line to vehemently disagree.

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Author Viji Krishnamoorthy's debut novel, 912 Batu Road, published by Clarity Publishing, has been longlisted for the Dublin Literary Award. The novel is about two Malayan families' ordeal through World War II and the early 2000s when their descendants' forbidden love affair threatens to tear both families apart. Yes, the longlist was apparently announced on 30 January this year so I'm late to the party.

Speaking of awards, Tom Benn has won the Sunday Times Charlotte Aitken Young Writer Award for his novel, Oxblood, about an intergenerational family in a council house in the 1980s. The Jersey Evening Post adds that "Previous winners of the award – which comes with a £10,000 prize – include Normal People author Sally Rooney, Surge poet Jay Bernard and White Teeth novelist Zadie Smith."

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Writing in Book Riot, Alice Nuttall notes that...

Sometimes, authors deeply regret the books that they have published, even if – and sometimes because – those books made their names or brought them wild success. Arthur Conan Doyle famously hated Sherlock Holmes so much that he tried to kill the character off permanently, only to be forced to bring him back after public outcry. Agatha Christie resented the public demand for more Poirot novels; she found her creation irritating and hated all the idiosyncrasies she had given him, something she wryly references when writing crime author Ariadne Oliver’s hatred of her own fictional detective character.

But Nuttall adds that "nearly all of the authors who went on to regret their books are white and most are men", probably because "it’s likely that there are simply not enough books being published by authors of colour for those authors to have those same feelings of regret about the work they have struggled to get out there in the first place."

What stands out for me on the list is Peter Benchley, who of course wrote Jaws. The witch hunt against sharks that the novel and the film adaptation allegedly triggered appalled Benchley, who would spend the rest of his life championing sharks and their right to live unmolested in the oceans. I found his participation in a National Geographic special on sharks, with photographer David Doubilet and notable shark attack survivor Rodney Fox, quite exceptional.

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An unlikely path to publication for a Middle Eastern author spotlights "some of the setbacks facing regional authors in getting their work read globally." Simply put: the lack of bookshops and slow adoption of e-commerce in the Middle East and North Africa means publishers struggle to just stay afloat, missing opportunities that could be had if they networked with international firms interested in their output. Can networking at international book fairs be the answer?

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More bites from the Literary Hub: despite being labelled the most wired demographic, Gen-Z still prefer print to e-books, apparently. In the same tone as the plea to spare the manuscript thief Bernardini, the writer goes on: "Citing reasons like eye-strain, digital detoxification, BookTok, and new book smell (seriously, right?), an overwhelming percentage of readers born between 1997 and 2015 prefer old fashioned paper books."

And it seems the FBI made notes about Pilsen Community Books, a Chicago-based bookstore, which is said to be "a meeting place for 'anarchist violent extremists, or ‘AVEs,’ environmental violent extremists, or ‘EVEs’ and pro-abortion extremists.” Bookstores through the ages have cultivated certain reputations based on what they sell, who they platform, and who runs them but wow. And this news surfacing around this period in American history...

Pressed Over Bookshop Presence

Self-published author Grace G. Pacie can't seem to get her book into bookshops, a problem she shares with "other successful self-published authors". She reckons it's because...

...retail book buyers are hiding from us. Retail book buyers have concealed themselves behind such a curtain of secrecy, that we just can’t reach them to tell them about our success. ... I’ve met all their criteria, distributed my paperback through a non-Amazon channel and made it available through Gardners Books. Every attempt to reach the big retail decision-makers in this highly centralised market has ended in failure.

Even though the fruits of Pacie's research on managing time "has attracted such amazing media attention that my title hit number three in the Amazon Bestseller lists for Business Time Management Skills, and number four in Self Help Time Management this month"?

Some retailers tend to prefer names that sell by the score (each day, preferably), so that might not be a surprise. Other considerations might be due to retail agreements that favour big names and big presses even more, further relegating self-published titles to the wayside.

Which might not be wise, according to our self-published author who can't get into bookshops. Because: "While the global publishing market is predicted to grow at 1%, the self-publishing market is expected to grow at 17% per year, and with a self-published book market worth $1.25 billion a year, change is inevitable."

Now, among collections of self-published books one would find some with unappealing covers, back cover copy that goes over the top, and less-than-ideal editing. Some authors who "go it alone" because they feel shut out of traditional publishing ecosystems by what they see as excessive gatekeeping often do so without subjecting their work to rigorous refinement, eager to see their babies on the shelf. The growing use of AI in producing books, some of which still qualify as books even with low page counts, might also explain this growth. So kudos to self-published authors who take the time to improve their work before putting it out there.

Just as not all self-published work is unpresentable, not all bookshops are prejudiced against the self-published. Perhaps smaller neighbourhood bookstores might offer a spot on their shelves for independently published authors? They tend to because, for one, they're more amenable to small-scale, more personalised selling agreements. Also, stocking self-published works burnishes the image of the neighbourhood store as an indie outfit where hidden gems lurk.

In a similar vein, supporting small presses outside the publishing sphere dominated by the Big Five – or Big Four? – may pay off for the reader looking for something different as they contribute to the industry via their wallets.

Because, as Kendra Winchester writes in Book Riot, "big publishing isn’t the only place where excellent books are made."

Smaller presses provide a place for a lot of books big publishing doesn’t want to take a risk on, like books in translation, experimental works, and books by authors from marginalized identities. Smaller presses know their communities and invest in the literature that they specialize in, making a way for a wider range of books to be published.

Winchester goes on to build her case for indie presses, which also include university presses, as publishers of works from the communities they serve and are, thus, platforms for the voices of these communities, as opposed to big-name presses that mainly push marquee names and blockbusting titles.

Not getting a space at brick-and-mortar bookshops shouldn't be a downer, considering that a lot of commerce happens online these days. Surely the fact that Pacie's book was well-received despite its apparent absence in bookstores means it's worth checking out. Perhaps it's because bookstores have an edge, according to a Forbes Advisor analysis, based on data from the U.S. Bureau of Labor Statistics and Google Trends: they are looking like the most recession-proof type of U.S. business in 2023.

Forbes Advisor ... calculated that the number of bookstores in the U.S. increased by 43% during the latter part of the pandemic and they also “enjoyed steady wage growth” during this time (+16%) as well as during the Great Recession (+13%). These stats, plus their “moderate startup cost” (around $75k, apparently), earned bookstores the top spot in the recession-proof rankings.

Regardless, books don't write themselves and bookstores, digital or terrestrial, need books to sell. And if people want to read something, they will look for it. So, authors, get your work out and put it where it can be found. But please, get it proofed and edited.

Growing Job Scope, Plus More Writing

More than half a year passed since I wrote a journalistic piece, let alone anything substantial and book-related. But among some additional responsibilities at work include blogging for the company's online retail portal, and in between the prerequisite promotions was this piece about how ChatGPT is helping people write their books.

When diving deep into the subject, I've had to revise my viewpoints and phrasing of some passages in the drfat a few times. Doubts over whether I did a good job – not great but merely good – still linger, mixed up with their counterparts from previous projects, and are unlikely to remain and feed new doubts raised while writing the next post.

Nevertheless, I'm pleased with the results, not just because it's been a while since I've done something like this and it seems to have jolted my writing gears loose after such a long while. Hence, I'd like to furnish the full text of the post here but given the nature of the new arrangements and to be on the safe side, I settled for a partial copy-paste with a link to the actual post.

Wish I could say "it's good to be back" but I think it's still too soon. I'll be fretting over what to write about next but until then, let me savour the relief of being able to write again.

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ChatGPT – the ghostwriter in the machine

In a book titled The Wise Little Squirrel: A Tale of Saving and Investing, a squirrel named Sammy finds a gold coin while picking up acorns. Sammy's friends Benny the Bear and Lily the Chipmunk then help the squirrel learn about the importance and benefits of saving and investing.

Sounds normal, except that the author, Brett Schickler, had help writing it: the software sensation ChatGPT, an AI interface developed by artificial intelligence research lab OpenAI that produces replies based on user queries. Schickler "wrote" The Wise Little Squirrel by prompting ChatGPT with queries like "write a story about a dad teaching his son about financial literacy". He also employed AI to design the cover...


Read in full here.

Love (Of A Language) Shouldn't Be Forced

The Malaysian Institute of Language and Literature (DBP) has proposed amendments to the DBP Act 1959 to give it more bite in policing usage of the Malay language.

News reports about the matter stated that "Individuals who do not respect the national language can be fined up to RM50,000 or sentenced to imprisonment."

“This is not about grammar or spelling errors, but disrespect for the national language. The proposed fine is not to punish but to evoke love and patriotism to the country,” said the chairman of the Institute's board of governors.

The proposed amendments will reportedly be tabled at the next Parliament session and likely to be passed, but I doubt the aims will be achieved without some collateral damage.

The news reports reveal little about the nature or details of the offences worthy of the ehnanced penaltiess. Even if grammar and spelling errors will not penalised, given the way Malaysian authorities work, one gets an idea of what "offences" might be targeted and who would be most affected: the poor, migrants, older people, and those not sufficiently schooled in BM.

Instead of evoking evoke "love and patriotism to the country", offenders are more likely to end up hating the laws and the Institute. Instead of uniting people, sections of society are pigeonholed based on their proficiency in Malay.

In many ways, how DBP polices language is the same as how the religious authorities police religion in this country, steadfast in the belief that the heavier the mallet, the easier their job. But mangling words or grammar in a language shouldn't be a crime, especially if done unintentionally. As a Finance Minister put it, "why use a sledgehammer to crack a nut?"

More egregious uses of BM can be found on social media. For one, the proliferation of bahasa WeChat needs to be checked.

Language is a living thing, and as in all living things, evolution and growth needs to be organic, and that involves making and learning from mistakes. How will anyone grow if they're made to fear making mistakes?

As much as the authorities like to think harsh punishments will lead to better things, it's not often the case. A conducive learning environment needs to be nurtured, not enforced. Unfortunately, the authorities penchant for the latter seems to suggest they don't have the aptitude for the former.

Love for something needs to be nurtured with knowledge, compassion and forgiveness. Teach and guide people through the basics, be patient with their progress (or initial lack thereof), and be kind when they stumble. Only then will people be more encouraged to learn and participate.

One example is how Indonesian VTubers from the Indonesian branch of the Hololive VTuber agency got their Japanese counterparts to use Indonesian. Never mind that most of what they picked up were swear words, at least they're learning.

A better instance is the collab streams by Hololive Indonesia's Pavolia Reine, where she teaches Indonesian to other Hololivers. Reine's a pretty good tutor, and watching her students pick up choice Indonesian phrases - and throw them back at her - is fun.

Yes, fun. Learning and using languages should be fun. Not an obstacle course at a boot camp for the US Marines. For an example of fun, DBP's official Twitter taps into the pulse of the local daily news cycle by serving up related word or phrase lessons, and poetry - enriching and entertaining.

I felt pangs of grief and a little pride as the Japanese VTubers threw choice phrases at each other and no one in general. Indonesian VTubers are building bridges to Japan, thrilling Indonesian audiences, while DBP fantasises about being a language sheriff.

Relentlessly controlling language - or any form of art, for that matter - will only stifle its growth and lead to fear of its adoption due to such unnecessary pitfalls as fines and jail time for any "disrespect".

And it's not as if the learning will stop with swear words. When the gates and penalties are gone, curiosity will take over and a new world will beckon. What kind of world that would be, depends on those who champion the language.

I think one way to get people curious about language is to tell stories. Well-told stories can be compelling especially if the tales being told share the same culture as the language used to tell it. The writing and production of recent mainland Chinese animated series such as Fairy Album and White Cat Legend got me picking up and rehearsing Chinese off and on. But that's just me.

Malay does have a use beyond urusan kerajaan, beyond an instrument of jingoistic nationalism. We just have to work out what that is.

Kitchen Hijinks And WFH

Not long after returning from my Chinese New Year break, the old fridge gave up the ghost. Every perishable inside had gone bad or was on the way there.

I've had a new fridge since then but getting back to cooking or making simple meals took a while. Even after the new fridge came in, I had waited for about 36 hours before switching it on instead of the six to eight hours for the refrigerant in the unit to settle down after transit.

Part of me feels like the fridge isn't merely a thing that keeps food fresh, but a kitchen helper. Was I trying to get acquainted with it before trying out things in the kitchen like I used to with the old fridge?

Anthropomorphising household objects might sound strange but it's how I feel about stuff I use and depend on regularly to make my life easier, especially things that have been around for a long time.

Like the old backpack I had to abandon when I found holes at the bottom. I tend to carry stuff in it - medicines, groceries and other things, and waiting for the bottom to give way while hauling stuff wouldn't do. The backpack was almost as old as the fridge, almost two decades, so having to get rid of two things that had been part of the household for so long felt poignant.

The deliverymen took care of the old fridge after bringing in the new one, while I disposed of the old backpack, my frequent travelling companion of almost twenty years. I wouldn't allow it the final indignity of going out as a trash bag, so I emptied it and laid it on the contents of a dumpster.

...No, I don't talk to the fridge or the backpack. That's silly.

At least I've started getting back to messing about in the kitchen like it was before the pandemic. With the arrival of a new powerful blender, a Phillips ProBlend 6 3D, the banana-oat-nut-and-seed smoothie made a return. This yummy meal replacement used to be a regular thing until my immersion blender blew out.

Though the new machine produces a smoother concoction, cleaning and drying it is bothersome, so I won't be using it more than once a day. I might need another immersion blender - maybe one with a food processor attachment - as the ProBlend 6 is too much of a monster for stuff like sauces, soups and pesto.

I miss the latter though, to the point where I pulled a jar of ready-made pesto off a shelf for home-made pasta. Crowds are still keeping me out of malls and store-bought is convenient. I get my bourgeois goods from a nearby corner shop, like a mini Hock Choon, though it hasn't stocked basil leaves for a long time since it first opened.

I also whipped up a prototype mun fan (Chinese braised rice) with roast pork and mixed frozen vegetables. Few things are comforting as a dish of rice drenched in the sauce from braising miscellaneous ingredients.

Some frying was involved to reduce a bit of onion to almost nothing. The post-meal clean-up was quite the chore as I had also neglected having a cooker hood installed while renovating the place. Will be quite a while before the next attempt.

Wraps have also arrived in the kitchen. Assorted fresh greens, some protein and a sauce rolled up in what is essentially a flatbread makes a satisfying meal. So simple, I wondered why I took so long to try it out. Roast pork, tuna mayo, garlic sausage, scrambled eggs, even tinned beef curry...

Ah, the possibilities. What's next? Coleslaw? Burger ingredients? A chicken rice burrito? The mind is still boggling. Unless I'm lazy or in a hurry, I won't be getting another tuna wrap from Subway.

A shame that I came to realise this a bit late. With restrictions easing all over, I expect my days of working from home to end, along with the cooking. Prepping for a home-cooked meal and cleaning up afterwards take up a fair chunk of time and switching gear back to work after that can be a pain.

Being a creature of habit, I confine certain routines to their places and hate it when things change halfway. Work is work, home is home. So when restrictions were lifted for the first MCO, going back to work felt liberating. Taking out food meant not having to prep ingredients and clean up the kitchen.

But working from home beats having to deal with the time- and soul-consuming commute to and from work, no thanks in part to the antics of Malaysian road users. Didn't miss that at all.

Nor shall I miss having to scramble for limited parking bays at work, or having my parked car blocked by trucks as they are being loaded or unloaded when I want to drive out for lunchtime takeaways.

One is often in a calmer state of mind without striving to beat the clock daily. When there's no work, chores can be done. A home always has something that needs tending to.

Looking Back At A Long-Gone Life

Lately, like many in my current pandemic-addled state of mind, I've been tuning to VTubers at the end of each day to wind down. Some of them have other talents than being entertaining on screen while streaming, and quite a few can sing well enough to put out singles and even whole albums.

One of these talents is the "rapping reaper", Calliope Mori. She's produced quite a few songs, some of which feature a mix of English and Japanese lyrics, and the apparent ease with which she comes up with them speak of many, many hours, if not years, of practice.

A recent original, "End of a Life", took me down an emotional memory lane. Something about the soothing yet melancholic number makes you want to listen to it again and again.

While I lack the vocabulary to analyse songs, I could tell from the lyrics that on the surface, "End of a Life" seems to be about someone - perhaps Calli or anyone in the music business - who feels nostalgic about their starving artist days.

Life is a series of stages, and when people are dissatisfied with what they have to deal with now, they tend to look back towards simpler times, no matter how rough and far removed from where they are now.

There's a certain romance to the journeyman's struggle: despite the bad bosses, bad co-workers, bad environment and other occupational hazards on a road seemingly going nowhere, something comes along that makes things a little better: that one good colleague, the kind waitress at the diner, or unexpected things such as a helping hand from a stranger, an epiphany that descends while savouring a dinner or a drink, or some serendipitous event. And the occasional trip to a rooftop with a view, with or without friends, and the cathartic ranting, singing or hollering away of the day's troubles.

Times may have been tough when you were up and coming, but these things kept you going, one day at a time. Eventually, you developed a camaraderie with the community and the place where all this happened. Each day fraught with hardship that's survived is an accomplishment.

But then you catch a break, you move up and life gets cushier. A sort of torpor sets in, not the stuck-at-the-bottom type but the lonely-at-the-top or the now-what type often encountered at loftier heights. The grind is different, not as real like when you sweated buckets for what you can now do with a flick of the wrist, forgetting that it's also due to all the experience earned along the way.

That's when you look back and feel like an impostor, seeing the past with rose-tinted lens. That's when you feel guilty for leaving the old hood and all your old friends behind, the ones who came up with you but didn't get the break you did. All this messes with you and makes you feel you don't deserve what you have now.

But wasn't all this what you dreamed of when you stared into the stars from that roof, holding on to the ghost of that beer or cigarette in your mouth as you wished that horrible boss would drop dead?

Near the bottom, the struggle was real, but so were the connections you made, the gems you found. Those seem to get fewer and farther between as you get near the top, don't they?

Each stage of life has its good and bad. Before long you'd notice it too. The grind, the lulls in between, and the end-of-the-day ritual for tomorrow. The environment may be better, but it's still the same. Less real, perhaps, because you aren't suffering as much.

That's the longing for simple days that creep in when you're down, that some people attribute to Stockholm syndrome. If only they knew, huh?

It's a privilege to be able to look back at a shitty life with such fondness for the occasional bright spots, and you know it. Not everybody is as fortunate. Maybe these trips back in time are a distraction from the anxieties of the future.

Maybe what you miss is being young, being tough enough to survive whatever life throws at you. The high from making it through a tough day that makes you feel like you will life forever.

Alas, all lives must end. Just as the shitty life ended for you, so will these best years eventually join that shitty life in the recesses of your memory, only to surface at the lower points when you're older and less resilient to the emotional battering from mourning the sweet spots in your past.

Until then, from time to time, you'll revisit the old hood, old friends, and that rooftop with the view, where you held on to the taste of that beer or cigarette, laughed at your bullshit dreams of the big time, and hurled curses or sang songs alone or with your friends.

And you'll keep wondering how they're doing and if any of them made it out like you did, or disappear into the lights of the old hood, as you mentally compose thank-yous you might never get to send to them and others who in their little ways, took you through life day by day until you caught a break - and dreading what would've become of you if they hadn't shown up. Will they even be there when you drop by? Do you even want to and risk opening old wounds?

We all have such thoughts occasionally. All these and more surface each time I replay the song. To what extent Calli drew from experience when she wrote this, or whether she made it all up, I don't know. But I feel they echo strongly within content creators, like the ones we're watching. Many of them languished in similar dead ends until they became online stars.

I didn't quite set out to write an open letter of sorts to the protagonist or anyone who find themselves in the protagonist's shoes in the song, but here I am. So let me finish.

Well, you toughed it out too. All the good fortune one can receive means nothing if you didn't put in the work. You are here, and the "you" who didn't get lucky is a hypothetical, erased by the paths you did take.

Some people didn't believe in you, put you down, didn't stick around. That's fine. Do what you're doing now for those who did. If they're real homies they'd be cheering and singing along with you, proud that you're taking on the world.

Even if the old hood is gone, it'll live on in the heart, still doing what it's always been doing to get you through life one day at a time. And now, you also have new people who support you. As long as one is alive, might as well cherish the good things, tough out the bad, and make the most of every opportunity.

So don't stop dreaming. We'll be here when you wake up.

Some Flavours From Home

Besides some home-made Penang Hokkien mee, relatives sent me three jars of home-made spice pastes last week. A cousin just started doing this on the side and is only making these pastes to order, so there's no big push to market.

But this was part of an unexpected but much-needed care package - that's what I'm calling it - as I've not been out to shop in two weeks while the second jab settles in, and the pastes added colour and flavour to my otherwise drab rice dishes that reminded me of mask-free days of yore.

You take it for granted that café or restaurant you found and whose dishes you like will be there forever - until they close down. I'm terrified of checking up on these. Who knows how many are still in business in the current situation?

...Ah, yes.

An aunt - said cousin's mom - offered me samples of the pastes through WhatsApp. These were supposed to be sold but she "belanja" me, she said. I took up the offer. If these are as good as the Hokkien mee, I'll be ordering more.

The noodles and pastes - two sambals and a ginger-scallion paste - arrived at the condo, Uber-ed to me by the cousin's husband. He arrived pretty late, so I could only figure out what to do with the pastes the next day.

I made a batch of rice with chicken stock, almonds, cashews, pumpkin seeds and sunflower seeds in a saucepan, then mixed it with a beaten egg. I split the rice into two portions and mixed one sambal with each. I would do this with the ginger-scallion paste days later.

The versatile and familiar Sambal Hae Bi perhaps needs no introduction. The meaty sweetness of dried shrimp in chilli paste means extra protein is optional ... though this one could be a little spicier. The texture is a bit rough but it's a given, and the occasional crunch of shrimp shell feels kind of good.

The temptation to add extra sambal is strong after the first few bites. This contains shellfish, so those with allergies are cautioned. Several relatives on my dad's side developed allergies to shrimp, a future that might be on my cards. But until then, I'll be living it up.

The Sambal Bunga Kantan - torch ginger flower sambal - was new to me, though not necessarily novel. Others, I would learn, are making this. Mellow, floral, yet zesty, it made me think of all the Nyonya dishes I've seen in cookbooks.

The flavours also brought me back to my family dining table in Penang - specifically, to Mom's sambal-stuffed mackerel. The stuffing might be the same thing, albeit another recipe.

Again, I just want to pile this on, but keep in mind not to mix other stronger flavours that tend to overpower it. Let it be the star in a rice or pasta dish, or spread on bread or croissant. I can also see this going into a mackerel or used as a marinade.

I couldn't find many uses for the ginger-scallion paste, which also has garlic. I imagine it would go well with stir-fried vegetables, atop steamed white fish, chicken or pork, or mixed into congee. I was surprised to find that it gave my base rice a Hainanese note - like chicken rice.

An ex-colleague suggested marinating some chicken with it, plus some soya sauce, then steaming it. I suppose it could also be used as a composite ingredient, like the ginger-garlic paste that YouTube chef Sanjay Thumma often uses for his curries.

Looks like raw chicken is going into my shopping list for next week.

I don't dare eat this for dinner or use too much of it because ginger really gets your blood pumping - not good if you're winding down before bedtime. Also, this paste tends to brown while thawing and exposed to the air, so it's probably best to stir it into whatever you're cooking as soon as it's out of the jar.

Wonderful stuff, though the pastes harden when refrigerated - probably because of the oil. No preservatives means a shorter shelf life - up to three to four weeks if kept in a fridge, but at the rate I'm going the jars will be empty by then. At least that's better than having to throw out what's left that's gone bad.

It would be great if this venture can grow. With so much competition out there, however, it'll be quite a slog. But in this climate, we do what we can. I wish The Night Owls success.

Cooked Rice In A Saucepan

Twice. And it turned out okay.

What led me to my stove were a couple of clips of Puerto Rican streamers reacting not too favourably to Gordon Ramsay's "pegao-cooking" segment.

A rice dish made in a saucepan. No discernible difference
between what comes out of a rice-cooker.

What Puerto Ricans call pegao is the crust of crispy, brown-in-places rice at the bottom of a pot - probably a rare treat in some homes these days with the advent of modern cooking tools and techniques.

And if the crust resulted from, say, the cooking of claypot rice, fuiyoh. Crispy, fragrant caramelised flavourtown.

This substance is also familiar to other cultures where rice is a staple. The Vietnamese call it cơm cháy, Iranians have tahdig, in Japan it's okoge, nurungji in Korea, and in Indonesia and perhaps Malaysia it's called kerak nasi. The Chinese have guōbā, but the Cantonese call it faan jiu.

Though most of these are a by-product of conventional rice-cooking, sometimes this scorched rice is deliberately created, as might be the case with cơm cháy, guōbā and nurungji.

But then comes this white dude with his idea of scorched rice: pressing cooked rice into a piping-hot frying pan and searing it until it's "crispy", melts butter down the sides of the pan to make it easier to come out, then taps it out onto a plate when it's done.

One of the streamers I linked noted that rather than pegao (a derivative of pegado or "stuck" in Spanish), what Ramsay had made more closely resembled arroz mamposteao. Given Ramsay's reputation, we can acknowledge that his version won't suck - far from it - but it's not what he said it was.

I can only assume that the making of bona fide pegao wasn't enough to showcase the Michelin-starred chef's moves, and he didn't get the memo about what he ended up cooking.

I guess what I'm trying to do here is burn away the shame from getting carried away by a comedian's indignant, low-brow one-note act. The guy is still harping on Jamie Oliver, recently over Thai green curry.

This time, I noticed the energy Oliver radiated in that segment, and others before. This is a bloke who has nothing left to prove, is SO DONE being judged, and is now winging it for all the joy in the world. "Not authentic"? Go elsewhere.

Doesn't look that nice now, but when mixed together...

So I cooked rice in a saucepan. Rice, almonds, cashews and sunflower seeds were followed by thawed-out mixed frozen veg and mashed tinned sardines when the rice looked half-cooked. A good thing about an electric stove is the built-in timer and off switch.

I was concerned that I'd screw up and burn the rice, as I can't remember doing this before. However, only several per cent of the rice was glued to the bottom, nicely dried but not too charred, because I turned down the heat earlier.

I had to keep an eye on the pan until it boiled. A rice cooker is not completely covered by design even if the lid is on, so that extra steam can escape, but it still doesn't prevent spills from boil-over starchy water.

Once the rice started boiling, I waited a bit before adding the rest of the ingredients. After that, I waited a bit longer before lowering the heat and letting it simmer and steam away.

The results didn't taste too different from how I normally cook rice these days: steaming it in a steel bowl propped up by a steaming rack and a bit submerged in boiling water inside a rice cooker. This was a tip from Twitter for single-portion rice cooking that emerged during the first MCO, and it has served me well since.

The next day, I repeated this with a tin of Yeo's beef curry and roughly diced carrot. The resulting "pegao" was spicy as well as savoury, albeit low in volume. In both cases, the flavour reminded me of rice crackers.

But oh, wow, getting it out of the pan was tough. I broke a spoon made of a rice husk compound - a good spoon! RIP - to extract the crust because I didn't want to scrape the bottom with a metal utensil. Considering that the pan is stainless steel, I probably shouldn't have been so delicate about it.

The aftermath of saucepanned rice #2, after the rice grains
were scraped off. Hard work, but worth it.

I have concerns over using a claypot on my glasstop ceramic stove, so for now this is a viable alternative when I'm in the mood for a one-pot meal, made in a pot.

Some would say that it won't be like how it's made in a claypot, but that's okay. With the pandemic changing our relationship with our kitchens (I love you, kitchen!) and our regard for hawker food and outside dining (OMG you're all heroes!), some things need to be re-evaluated.

Here Are Some Words

I had more to say in this post, but decided not to, lest I mention something that might be offensive or proven incorrect later. But that's just one of several fears I've borne since I began writing less.

Voltaire was believed to have said, "Perfect is the enemy of good". However, he was apparently quoting some Italian proverb and somewhere down the line it was mistranslated a bit. But its profundity has encouraged some writers to keep writing, internal - and external - editors be damned.

That has become a monumental feat for me because I had a job that demanded a certain degree of perfection in my writing and my current job compels me to demand the same in myself - still! - and in others. Vague briefs and bad writing habits of others complicate matters further. Unfair, but that's how it is.

I had been comfortable with how I wrote for a long time, and in the job where I was first called on to write, my flair and self-possessiveness were shattered. My words were not perfect. All their imperfections were pointed out to me, and in some cases I wasn't allowed to fix them the way I wanted to.

Perhaps it's why I've been subconsciously "counting my scars" now and then, while acquiring new ones.

Someone dragged me into the business of words when they entered my life, but they're gone now, leaving a gaping void I still struggle to fill today.

Words wouldn't fit. Either I haven't written enough of them or it's the compulsion to harshly judge my output. Perhaps due to the nature of their departure, I've come to associate the whole business of writing with this person and have come to loathe it, to be as far away from it as possible.

Regardless, all this led me to distrust my words, and the ever-growing, ever-thickening pandemic fog is not helping.

The lockdowns have kept me away from my old haunts, stripping me of havens where the words can flow a little and depriving me of what little respite I have from my daily troubles.

Some of these factors are beyond my control. What I can do, however, is write. Even on days when I'm not called on to write, when the words don't flow or aren't right, or when I just feel like a pound of fried chicken skin slathered with cheese sauce, a bucket of mashed potatoes and a pile of coleslaw, the mind swarms with words, however chaotic or terrible they sound when put together.

So here I am, and here are some words.

Perfect may be the enemy of good, but I've been told a few times that what I've written is good. My scribbles have been published in newspapers in print and online, so they have to be of a certain standard.

Still, when I pound the keyboard, the desk, and ocassionally the wall in frustration when the words don't fit, all that seems insignificant.

Who the hell am I still trying to please?

What is shattered can never be put back perfectly together - some pieces shall remain missing, however minute. The Japanese practice of kintsugi supposedly illustrates that these gaps can be beautiful when filled with the right things. You probably can't eat out of that bowl again but damn, it looks good and broke the ice with your guests.

So here I am, and here are more words.

My ability to write doesn't have to win a prize or generate social media buzz. It just has to be good enough. Though time and heartache have distorted my Good Enough™ sense, pulling it back into shape shouldn't be too difficult.

Because every time I write, just write, I pound the keyboard, the desk, and ocassionally the wall with less and less frustration as I remember the original shape and feel of my wordsmithing. The journey back is hard but doable because the words still swarm in my head, trying to escape.

Bit by bit, I'll fill that void in me. I can't do a perfect job but hell, I'll do my best to make it interesting.

And instead of asking "Who the hell am I still trying to please?", someday I hope to ask, "Why the hell did it take me so long to figure it out?"

Counting Scars

I can't remember the first time I heard Hong Kong singer Sandy Lam's "Scars", though its melody still haunts the fringes of my mind. But weighed down by growing recent concerns, I looked it up again on YouTube.

A closer look at the lyrics showed me how much of an education I might have missed, and that I should pay more attention to what I listen to. And considering that the song was released in 1995, "late to the party" is an understatement.

Composed and lyricised by Jonathan Li Zongsheng, the song is sung from a woman's point of view and the first part is basically, "Girlfriend, it's freaking late at night. Who's got you up counting your scars, and why do you need a light to go to bed? If you won't dish, I won't prod."

That's not the end of the story, as she goes on (pardon the gaps in my translation skills):

It's just that right now you have to admit
At times love is like a void
And the relationship itself is a letdown
So don't blame it all on yourself as a woman

Does language also determine the degree of profundity in a song's lyrics?

If you love so deeply there will be no balance
Being trapped in a relationship tortures the soul
Love what you should love, hate what you should hate
Just don't exhaust yourself

Here comes the advice:

A woman's unique, natural naivete and tenderness
Is only for the one who truly loves you
So no matter how rough the future may be
He will always see it through with you

...and the caution:

Love may be a responsibility, but give it your best
Even if at times it's so beautiful, it doesn't last
Love is enchanting but it also wounds vSo if you're brave enough to love, be brave enough to part

There's nothing to unpack here, as the words speak for themselves, and so eloquently. Good advice for those in a relationship, regardless of gender.

Since revisiting this song though, the melody and the words trail me like ghosts. Have I been counting scars on some nights when I can't sleep?

The Nineties were another time, and I'd like to believe we're all braver and more open about our troubles. Nevertheless, some of us are sleeping less than we should these days and may not be up to the job of being a listening ear or a sturdy shoulder.

So take some time off to find and do what recharges you for what lie ahead, and avoid what causes you heartache and fury, like the news or social media right now.

Love what you should love, hate what you should hate
Just don't exhaust yourself

Sayonara, Chairman

On 1 July, Hololive virtual YouTuber Kiryu Coco graduated, i.e., retired. Fans and her fellow Hololive VTubers mourned. Tributes to her flooded cyberspace. More than 491,000 viewers watched her last "live" appearance on YouTube, perhaps the most ever so far for a Hololive virtual YouTuber in the platform's history.

"All this fuss over a cartoon girl?" Yes, if you've been living under a rock since the pandemic started.


So many VTubers, so little headroom
Virtual YouTubers - or VTubers - aren't a new concept. The idea of an animated avatar stand-in as entertainment goes way back to the days of Max Headroom. With many countries locked down by COVID, more and more sought an escape through online video-streaming platforms.

This was perhaps the time many first encountered a world of online virtual entertainers.

Typically, a real person is behind each virtual avatar, manipulating it through motion tracking technology, like e-wayang kulit. Some movements can be programmed with software, like in videos where the VTuber dances. VTubers also entertain audiences with activities such as playing games, singing, and drawing, and even movie watch-alongs and chats with viewers.

Some virtual talents are independent, while some are part of agencies, with Hololive being the most well-known. Interactions such as collabs among talents within and outside their agencies can and do happen, subject to conditions. Being under an agency helps a great deal in terms of VTuber tech, sponsorships and branding, in lieu of a basic salary.

Income from VTubing generally comes from viewer donations, usually integrated into the streaming service. YouTube, for instance, introduced the superchat, where viewers pay to keep certain comments on screen longer than usual. Some VTubers show their appreciation by reading the names of superchatters after each segment.

Each avatar has its lore or background, which is revealed during their debut and expands over time. Eventually, boundaries between the avatar and the actor blur as their backgrounds meld and incorporates bits of the actor's daily life: family, school, work, and off-screen interactions with other VTubers, and the struggles faced in their VTubing careers.

All this creates a vibrant melting pot of inspiration as artists, musicians, video editors, and the like get in on the lore train with the fans, enriching it. The amount of VTuber-inspired output is growing, and in Japan the avatars are also featured on snacks, drinks, and on special occasions, billboard ads.

Well, this preamble went on longer than it should.

But what I'm saying here that VTubing has sort of bloomed as a form of entertainment, a career, and a PR strategy. You want facts and figures, go somewhere else. However, that brands such as Netflix and even Air Asia is riding the Vtubing surge, debuting their own VTubers as their corporate spokespeople, should be enough to shout that this trend won't be going away soon. Saturated, yes, but not going away. Is anyone aware that Malaysia has its own VTuber agency?

And among the figures driving this boom is a certain orange-haired half-dragon cartoon girl.


A virtual star was born...
Kiryu Coco debuted as a Hololive VTuber around December 2019 along with four other genmates, but she dropped into my YouTube recommendations near the end of the first MCO in Malaysia. She stood out even among her fellow VTubers, not just for her height and cup size. Who was this sassy bilingual lady with a distinctly American Southern drawl who uses "motherf—er" in her catchphrase?

At some point, however, she grew on viewers. With scores of clippers - people who subtitle and post segments of archived VTuber livestreams - that she and her fellow Hololivers spoke mainly Japanese was no barrier to getting to know her.

Coco's voice actress was born and raised American, which explains her accent. She apparently taught herself Japanese after playing a game from Sega's Yakuza series and has been living in Japan for some time after her family moved there for work.

Behind her raunchy, at times foul-mouthed on-screen persona, Coco is smart, forward-thinking, creative, sensitive, compassionate, and pretty selfless. She's helped several Hololivers through personal crises, provided tech support, and mulled the creation of a dorm-cum-office that's more conducive for Hololivers to stream and live in. All this, the lengths she goes to for each stream, and more contributed to her meteoric rise in popularity.

And it shows. Just check out these stats. This website, Playboard, only started tracking these figures early last year, but grossing nearly RM12.3 million in super chats from her debut up to her graduation is no mean feat. Coco's is currently listed as the most superchatted YouTube channel worldwide.

Even assuming that YouTube takes 30 per cent and Hololive, say, 40 per cent, her net earnings are still damn serious for someone who plays an exaggerated version of herself online. Small wonder millions are hopping onto this bandwagon. Well, I thought it was a big deal until I looked up some income tax rates.

Coco is also cited as the main reason Hololive English came about. Its members' popular YouTube channels reached the million-subscriber milestone less than a year after their debuts, and sitting at the top is shark girl Gawr Gura, with more than three million subscribers, beating that of the standard bearer of Japanese VTubing, Kizuna Ai.

She shows more of her caring, introspective side in her "Bar Coco" segments, where she plays the accomodating hostess of a virtual bar helping her guests (the audience) wind down after a long day, dispensing advice and telling jokes. She's done more, but repeating all that here is pointless.

Not for nothing Coco's epithet among fans and colleagues was kaichou or Chairman, a nod to her being a Yakuza fangirl and reflective of her growing influence within the global VTubing sphere.

But there were hard times. Because YouTube is Hololive's primary streaming platform, VTubers who cross the line become demonitised - no superchat or ad revenue - or even banned from streaming temporarily. Coco and several other Hololivers have been hit. And after she broadcasted YouTube stats that showed Taiwan as a country, Chinese nationalist fanatics coordinated a months-long harrassment campaign, spamming her chat window and those of other Hololivers in collaborative streams, to get the company to fire her.

Nevertheless, she persisted, so when she announced in June that she was graduating from Hololive, about one and a half years after her debut and at the peak of her career, everyone was shook. After all she had endured, after all the time and effort she invested, it had come to this?


...but went supernova
The harrassment was one factor, but as the date approached she revealed that she'd found herself descending an unhappy spiral over her streaming activities. Having some of her ideas for streaming and such shot down by management no doubt contributed to her slump. Her fans are understandably furious about the harrassment and the antis are a convenient sandbag. But Hololive appears to be an archetypal Japanese talent agency after all, and Coco's Western ways were never going to be welcome there. She's likely to have haters among Japanese viewers too, for not meeting expectations.

She has already influenced some Hololivers to swear in English and pick up the language to communicate with the wider Anglophone audience, affectionately referred to as "overseas bros". She played a role in getting Hololivers from various branches - Japan, Indonesia and the English-speaking group - to bond. Her presence was inducing changes to the company and probably the industry as a whole, which the conservative segment of Hololive's management probably could not adapt to, in less than two years!

But before management could decide, Coco apparently decided to graduate on her own, announcing the decision first to her colleagues, then to the world maybe several months later, after laying out a roadmap for her exit. Collabs, an original song, a group single with her fellow genmates, and a graduation stream were arranged. She even managed to interview Tanigo Motoaki, a.k.a. YAGOO, the CEO of Cover Corp, Hololive's parent company.

Towards the end, she gave it her all in her last livestreams, often exuding the strongest "whatcha gonna do, fire me?" vibes any outgoing employee has ever displayed.

A bunch of fans including music mixers and artists helped her put together a music video for her cover of "Fansa" ("Fanservice") in time for her graduation - and didn't bill her a yen. Elsewhere, fan tributes poured in: posts, tweets, videos, songs and art. Before and shortly after her exit, during collabs and streams, some Hololivers couldn't hold back tears at the thought of her departure.

Even after her graduation, unlike most idols, her name was not verboten. Coco is still referred to and brought up during livestream conversations by other Hololivers. Several of them even sang her apparently fan-made(!) original song online. Her Twitter account and YouTube channel remain, along with all the other clips of her made by clippers.

It's still cold comfort for fans, especially those who had just discovered her, only to learn that her time with us would be cut short. Many of us who needed an escape from the COVID-riddled reality tumbled into the VTuber rabbit hole, and Coco was among those who first pulled us in. And just when we needed her even more, she left us.


Towards a new sky
I broke down at one point after watching one too many tributes to her online. Tears shed not solely for a star that braved hardship and the ire of petty people only to be unjustly deprived of her chance to shine even brighter, but from everything else that led us to seek solace in her antics and those of other VTubers. The scene just isn't the same without Hololive's naga lucu.

Some have wondered if she would have been more at home with a Western Vtuber agency like, say, VShojo, whose talents tend to be as forward as she is. I don't think so. In VShojo, she would have been just "one of the girls". In Hololive? A more restrained, more wholesome and family-friendly arena? She glowed like a supernova, albeit too brightly and too hot in the end.

It's likely that despite her distinctive voice, as well as her identifying character and verbal tics (which have helped the curious discover her other online identity), Coco insisted on being herself in an alien sky because she knew how bright she'd shine there.

So we can perhaps be comforted by the fact that she'll find another sky to shine in, and that we haven't seen the last of her, assuming she managed to save whatever remained of her love of streaming and cheering up audiences.

Live strong, Chairman, wherever you may be.