VOCALOID "Redefining the Image of Hatsune Miku": VOCALOID6 special interview

[MagicalMiku]

"Redefining the Image of Hatsune Miku": VOCALOID6 special interview [PART1]
(translated from the original interview in japanese)
https://realsound.jp/tech/2026/04/post-2365019.html

Crypton's Wataru Sasaki and artist LAM discuss "Redefining the Image of Hatsune Miku": From behind-the-scenes stories of 'VOCALOID6' development and illustration production to the true nature of the "subjectivity" embodied in Hatsune Miku.
Text and interview by Natsume Soga

Hatsune Miku V6, equipped with the VOCALOID6 vocal synthesis engine, has been released on April 14, 2026, by Crypton Future Media, Inc. While the significantly revamped functionality has garnered considerable attention, the equally impressive redesign of the package visuals has also generated significant buzz. Following in the footsteps of KEI, who created the iconic visual for the original Hatsune Miku, and iXima, who has long been responsible for package illustrations, the official visual for Hatsune Miku V6 is now handled by LAM, a popular illustrator who has consistently enjoyed strong support from listeners in the scene.

LAM is a creator with a long and deep connection to the VOCALOID scene, having illustrated numerous famous VOCALOID songs, including those by VOCALOID producer Kanaria, as well as handling the main visual and costume design for "Hatsune Miku 'Magical Mirai 2023'" and multiple visuals for "Project Sekai Colorful Stage! feat. Hatsune Miku". This time, a conversation between him and Wataru Sasaki, the planning and development producer at Crypton Future Media, Inc., the "creator of Hatsune Miku," has been realized.

Why did Sasaki choose LAM for the new package visuals this time? What kind of exchanges took place between the two during the production process? Including the secrets behind the software's development and the newly added features, we had Sasaki and LAM sit down and talk in detail about "Hatsune Miku's current position" at this time when "Hatsune Miku V6" is finally set to be released to the world. (Editorial Department)

Preventing the loss of "identity" due to AI—The behind-the-scenes story of the development of Hatsune Miku V6, a project that struggled to combine fluency with Miku's unique character.
--First of all, I'd like to ask Mr. Sasaki about the development process of 'Hatsune Miku V6'.

Sasaki: Looking back at our interactions with Yamaha, the conversation first started around spring 2022. The VOCALOID6 technology used this time is the engine that gained attention with AI Hibari Misora, but we understood it to be something that realistically reproduces human voices and is for dynamic vocalization like Showa-era enka singers. In other words, we thought it wouldn't fit in terms of bringing out the charm of Miku's singing. Normally, this is where the project would stall, but this time, we at Crypton and Yamaha worked closely together to explore how to reproduce Miku's singing voice and achieve a natural balance beyond that. I'll omit some of the technical aspects of sound engineering, but we re-analyzed and understood Hatsune Miku's voice, and focused a lot on enhancing her good points and adding natural singing nuances.

--In recent years, there has been a strong trend in the world of voice synthesis software to demand more human-like singing, but in the case of Miku, there is still a strong sense that her machine-like singing is a kind of identity. The statement that "AI engines don't fit Hatsune Miku" is about balancing these aspects, isn't it?

Sasaki: At first, the way VOCALOID6 behaved just didn't suit Miku. Not just the voice quality, but more than that, the speed of pronunciation, the rhythm of the words that is characteristic of a VOCALOID, and the uniform resonance of Miku's voice just didn't match. To explain Miku's mechanical resonance in more detail, the expression of her voice is uniform and there are no "dips". A human voice has what you might call waves, where it suddenly dips and then rises again, but Hatsune Miku doesn't have this "sudden dip" at all. So, as soon as we equipped Miku with the VOCALOID6 engine, the dips in her voice increased like a human's, and that would make her a "Miku whose tension is all over the place and wobbly". But that's not Hatsune Miku, is it? It's quite important for Miku that the tension of her voice doesn't change no matter what melody comes along.

--So, in a sense, it involved a "redefinition of the Hatsune Miku image". Does that mean that V6's Miku is significantly different from previous versions?

Sasaki: I think it depends on what aspects of Hatsune Miku you're listening to that you're either hearing as different or the same. Miku has changed quite a bit with V2, V3, and V4, and while the majority say "she hasn't changed at all", a very small number say "she's changed a lot" or "she's changed too much", so the impression is never really settled. Dwango also said that when a new version of Miku or VOCALOID comes out, they expect Nico Nico Douga to be excited and go to check the reactions, but they find it's mixed, and they're left wondering, "How should I interpret this?". Personally, I don't think there have been many instances where the evaluation or perception on the internet has clearly changed when there's a version upgrade. A few years later, you might hear things like, "I thought the cuteness of V2's voice was the best, but thinking about it calmly, V4X was the best". In that way, Hatsune Miku, who confuses the perceptions of so many people, is truly a "femme fatale" (laughs). She's a being that messes with everyone, including myself.

--That's what makes it so appealing and mysterious, isn't it? Even though everyone is talking about the same Hatsune Miku, the image of Hatsune Miku that each person sees is slightly different.

Sasaki: It's kind of like a syndrome, isn't it? The general public's stereotype of Hatsune Miku might be this, but I tend to end up talking about my own version of Miku, and that's what she is to me. In that sense, Hatsune Miku is a really hard character to understand, and I myself continue to struggle with that (laughs). I'm really happy that everyone has been so pleased with LAM's visuals this time around.

--Furthermore, I think one of V6's biggest improvements is that they can now sing English lyrics fluently.

Sasaki: Clearly, VOCALOID works are spreading overseas, and the number of creators is also increasing. For some works, overseas listeners make up nearly 80% of the audience. For people overseas, Hatsune Miku and VOCALOID are being accepted as something truly new. In order for it to become established as a culture in the future, we were aware that an easily accessible Hatsune Miku with English vocals was necessary. VOCALOID6 and those equipped with AI mechanisms are very good at multilingualization. With older generations of vocal synthesis technology, Japanese was easy to construct, but it was quite difficult to handle English and other languages, complex vowel sounds, and diverse consonants.

Recently, more and more Japanese people are listening to Japanese VOCALOID songs and smoothly accepting them saying, "Ah, VOCALOID!", but people in English-speaking countries often couldn't understand English VOCALOID songs, and it was even more difficult if the songs were fast-paced, which is characteristic of VOCALOID. I hope this will be one of the elements that can overcome that.

--When Miku first appeared in the 2000s, there were many people who listened to Vocaloid songs and said, "I don't understand what they're saying". It's somewhat moving to see the same phenomenon happening overseas now. In addition, I hear that V6 has some "hidden elements"...

Sasaki: In addition to the regular voice, Hatsune Miku V6 also features a soft and lovely singing voice called "Soft". The regular voice, "Original", has about 15% of Fujita Saki's recording data from Hatsune Miku Append blended in to give the sound more definition, but this is almost the same voice as Hatsune Miku when she was first released in 2007. On the other hand, "Soft" is a voice that has been tuned to sound more "Soft" by injecting the softness, sadness, and warmth of Fujita Saki's voice into the similar voices that have been released so far. We were really struggling with the name until the very last minute, right before the packages were printed. I think many Vocaloid producers will like the moody atmosphere of the "Soft" voice.

 

[MagicalMiku]

"Redefining the Image of Hatsune Miku": VOCALOID6 special interview [PART2]
(translated from the original interview in japanese)
https://realsound.jp/tech/2026/04/post-2365019.html

--In terms of style, is it fair to say that the new Soft voice is suited to ballads and soft melodies that use piano and strings?

Sasaki: It suits an ennui-filled singing style, so I think it's perfect for creating a singing style like n-buna's from back in the day, or for creating a melancholic atmosphere. That being said, it's not really limited to specific song styles, so I hope you'll try using it in various ways. I feel it also goes well with songs with a slightly darker atmosphere or with singing styles that include breaths. This time, we were able to do quite a lot of experimental things even within VOCALOID6. We even had Yamaha customize the engine itself a little for Miku, so I feel that a lot of it was born from a kind of playful experimentation.

--However, I imagine there were some difficulties during development. Looking back, the release of Hatsune Miku V6 was ultimately delayed twice, right?

Sasaki: That's right, I remember being scolded a couple of times with "Are you going to make it longer again?" (laughs). The main reason was that as we were developing it, we were really trying to figure out "why it had to be an AI" and "how to give it a natural Hatsune Miku-ness." Each Hatsune Miku from VOCALOID2 onwards has had her own distinct impression, so figuring out how to give V6 her own personality was quite a challenge. There were times when we were pretty much fumbling around, searching for a way out of this tunnel, and I was definitely quite anxious.

--So, how did you manage to overcome that situation?

Sasaki: This might not be the best answer, but ultimately there was an element of self-suggestion involved. It was largely about finding a V6 identity that I could be satisfied with, and whether I could grasp that intuitive starting point that made me think, "Maybe this will work". I was satisfied with it as a slightly over-the-top, trying-to-sing Hatsune Miku voice, so we decided to continue with the development.

Crypton's Sasaki reveals for the first time the 19-year history of "Hatsune Miku illustrations."
--So, after all that trial and error, Hatsune Miku V6 was born. Could you tell us again about the circumstances that led to LAM, who was in charge of the visuals, being chosen?

Sasaki: The idea of asking LAM to do it has actually been around for a long time. When I first worked with KEI, who was in charge of the original package illustration for Hatsune Miku, we started out with a very open mind, creating the visuals for Hatsune Miku as a virtual singer with a bright future, hoping that "everyone would enjoy her and become familiar with her". But as you know, in the six months or so after the release, there were all sorts of chemical reactions on Nico Nico Douga, and songs like "Black☆Rock Shooter" and "World is Mine", drawn by huke and redjuice, came out. This cute girl with a somewhat goofy voice had, before we knew it, become a figure who carries the weight of songs and visuals that represent Japanese internet culture.

I actually talked to KEI about it back then. We agreed, "This is definitely unexpected". At the time, the visuals of Miku in the songs I mentioned earlier seemed a bit excessive to me, but I guess that's what everyone wanted, it's like wild Cool Japan (laughs). When she was first released, we envisioned a world of male fans who followed idols and virtual singers, but with songs like "World is Mine", the number of female fans increased noticeably, and then virtual singers in dressy worlds like the "Evil Deadly Sins Series" gained tremendous support from teenagers and children. I'm often asked, "Was Hatsune Miku's breakthrough unexpected?" but that was the biggest unexpected thing. I never thought Hatsune Miku would be updated with a cool visual style.

Around that time, because of my admiration for redjuice and others, I started to worry about having to properly create a flat, uncolored Hatsune Miku. That's why I felt it was so difficult to incorporate so-called artistic elements into the official illustrations. In that respect, I think the charm of iXima, who has been in charge of the illustrations since "Hatsune Miku V3," is that she can draw with a more neutral style with added custom elements. So, for the image of Hatsune Miku at that time, I asked her to draw a cute girl at first glance, while still maintaining a balanced nuance. For me, it was like having Hatsune Miku "assembled" like a building. Like a game of fukawarai, where you pop together separate parts. So, I don't think I ever said anything like, "Please give to the design an illustrator's sense of sizzle" to iXima at the time. We only talked about symbols for musical equipment, materials, transparency, and light reflection. And then, at the end, she would add a facial expression that was characteristic of Hatsune Miku to finish it off.

Amidst these changes, various interpretations of Hatsune Miku illustrations emerged and spread, such as popular works by HoneyWorks that combine illustrations and music, works by Rella that emphasize spatiality and beauty, and works by Terada Tera that are striking with their intense gaze and stylized depictions. On the other hand, we had a strong feeling of observing the ecosystem from a distance, like looking at creatures on display in an aquarium. We felt that we should incorporate something with a stronger balance, something that everyone would think, "This is it". With that in mind, we may have been waiting for an illustrator like LAM, who has the ability to deconstruct things that cross "organic and inorganic", "cool and cute", and "light and shadow attributes".

--To borrow your words, you wanted to create a Hatsune Miku with "artistic elements" at some point, right?

Sasaki: While NT will continue to be drawn by iXima, we wanted to create a "different" interpretation of Hatsune Miku as an update in a new lineage for the AI era. However, the difficulty was that if we put someone like redjuice, who already has a clear image of Hatsune Miku, in charge of the official illustration, we thought that the energetic aspect of the illustrator might intimidate others. It might put the brakes on the spread of derivative works.

Also, another fundamental aspect is that, during the first development back in 2007, I wanted to incorporate a style similar to that of Shigenori Soejima from the Persona series into the virtual singer. I guess that was influenced by Aigis (a character from Persona 3). That was one of the reasons I chose LAM.

I knew that LAM had joined Atlus (the company that makes Persona) because he admired Soejima. After learning about LAM, I had always wanted to ask for his help someday, and I spoke with him once through a mutual acquaintance. He has an overwhelming ability to understand and articulate things, and communication was very smooth because he was able to align perspectives and intentions. He is analytical, or rather, he has a meta perspective and a sense of how things are structured, rather than relying on emotions or intuition. I became confident that I could ask him for help in that respect as well, and that's how I arrived at this request.

I haven't touched on the evolution of KEI's illustrations from the beginning to the present day before, so this is the first time I've talked about it.

 

[MagicalMiku]

"Redefining the Image of Hatsune Miku": VOCALOID6 special interview [PART3]
(translated from the original interview in japanese)
https://realsound.jp/tech/2026/04/post-2365019.html

--So, LAM, what do you think after hearing all of Sasaki's stories?

LAM: When I received the offer, I heard more or less about the circumstances, and I was honestly very happy. I was honored and, more than anything, surprised for being mentioned as part of the trend of official Hatsune Miku illustrators, KEI-san and iXima-san.

--You must have been surprised when you received the request, right?

LAM: I've had many opportunities to work on projects related to Miku before, but Hatsune Miku is a very special existence for me. I'm sure it's not just me, but a very important existence for creators and fans alike. When I was asked to do V6, I didn't quite grasp it at first, but as I listened to them talk about it, I gradually came to realize that this was something incredible. Hatsune Miku has so many different forms, and they wanted to entrust me with the official—or perhaps it's a little strange to say it that way—"the latest Hatsune Miku". But at the same time, as I listened to Sasaki-san's thoughts, I gradually came to understand, or rather, it might sound presumptuous, but I felt like "this is a job I should do". It was a first contact that involved such a shift in my feelings.

--I understand that LAM himself has been a Vocaloid listener since the early days of the culture.

LAM: I'm from the generation that witnessed Hatsune Miku's rise to popularity on Nico Nico Douga when I was in high school. Back then, as a high school student, I vaguely imagined a future where I wanted to do creative work someday, to be able to do something as a creator. The Hatsune Miku content that I encountered as a young person was truly shocking, and although there were predecessors like MEIKO and KAITO in the culture of machine voices, Miku was definitely the entry point for me. I'm from the generation that was immersed in songs like "Miku Miku ni Shite Ageru♪ [Shiteyanyo]" and "Melt", so my relationship with Miku is really long. She is someone who greatly influenced me when I aspired to become a creator myself.

art by LAM

--In another interview, you referred to Hatsune Miku as your "muse", which I found very memorable.

LAM: I borrowed this phrase from another creator before, and it left a strong impression on me because I thought it was wonderful. For creators in a broad sense, Hatsune Miku is, to borrow Sasaki's words, very much a syndrome. There is a history of everyone cherishing and nurturing the Hatsune Miku content, and there are lives that have been helped and saved by Miku.

Within that, she is a reliable presence as a receptacle for one's own creativity, a symbol of beauty, the embodiment of cuteness... I think she is a character who has played a huge role in Japanese and global subculture as a truly idol-like muse. She is truly unique as a presence that has remained unchanged despite going through many changes over a long period of time.

With that context in mind, when I received the offer, I felt honored, terrified, happy, anxious, and conflicted, swallowing all the good and bad, but above all, it was a very enjoyable request. It was fun thinking about Miku's design together with Sasaki, and it has become one of the most memorable projects I have been involved in my life so far.

 

[MagicalMiku]

"Redefining the Image of Hatsune Miku": VOCALOID6 special interview [PART4]
(translated from the original interview in japanese)
https://realsound.jp/tech/2026/04/post-2365019.html

The keyword is "What did you want me to become?" - The message LAM put into the illustration of Hatsune Miku V6.
--So, you had very detailed discussions with Mr. Sasaki before the production began?

LAM: To explain in order, first Mr. Sasaki approached me, and I said, "I'd love to do it", so we had our first meeting. At that time, we had a detailed discussion about the performance of V6, the ideas he wanted to put into it, and what he was looking for. He explained that the biggest difference from the previous Hatsune Miku was that by using AI in VOCALOID6 development, Miku could take some kind of action from the user, or rather, instead of Hatsune Miku being a passive tool that moves according to the user's instructions, she would become a dynamic Miku that approaches the user a little more, which he said was the most unprecedented new feature and the biggest evolution. I was very impressed by what he said.

Before the meeting, I had expected to be many constraints regarding the design, so I conducted interviews, but surprisingly, there were almost none. As the project progressed, Mr. Sasaki also gave very little feedback. When I presented the initial proposal, he gave very positive feedback, saying, "That's great, let's go with this!". There were some minor adjustments to individual parts, but in fact, the final design hasn't changed much from the initial version.

Sasaki: The first time I saw it, I thought, "This is it!". To be more precise, we only talked about symbolic elements, such as symbols that were quoted from synthesizers, suggestions for equipment parts, and the selection of the shirt texture pattern that LAM-san gave us. I was impressed that LAM-san had such a clear "image" and "feelings embedded in it" from the very beginning, and I wanted it to be released with that same initial impulsive energy. I also wanted it to be on par with the many lively Mikus that are born from the worldview of wild Vocaloid producers and online creators, who haven't been subjected to the unsophisticated direction of corporate producers.

--Are there any exchanges with Mr. Sasaki that were particularly memorable?

LAM: There are several. First of all, when I receive job requests, clients often refer to my past projects and creations, and the one Mr. Sasaki mentioned as wanting "this kind of atmosphere and expression" was a personal original illustration I drew about 10 years ago, before I became a professional. It was actually the first time in my life that a work from before my professional debut had been brought up in this context. It contained things I love that are the source of my creativity, and it showed the impulsive and pure parts of me before it was polished, so it was sensational for me personally, and at the same time, I was very happy.

When considering Miku's facial expressions and design for this project, a fundamental premise I held was the interpretation that "Hatsune Miku is not really human". She's a VOCALOID, not human, but she's an abstract being that can appear almost human, almost like an android, or even something else entirely. On top of that, the only specific instruction I received from Mr. Sasaki was, "Please make a face that says, 'What did you want me to become?". I actually have the notes from that time right here.

By incorporating AI into Hatsune Miku development, she has begun to communicate and take action on her own, albeit not proactively. It's as if a little bit of her own heart has begun to sprout... well, maybe that's an exaggeration. But I think that having Miku respond in this way gives a sense of her own existence and will. With this evolution, people who previously used her as just a tool, or who loved Miku as an inorganic idol, might be taken aback. However, Miku herself is probably nervous about having AI installed, about "having something like a heart". So the only request I received was to make Hatsune Miku look as if she's timidly asking everyone, "What did you want me to become?" and "What do you think will happen to me in the future?", as if she's expecting something. I thought this was wonderful, but at the same time, I thought, "What a difficult request!" (laughs).

--Personally, when the illustration was released, I got the impression that many people on social media commented on the details of the fashion. But it's even more interesting to hear that you put so much effort into the facial expressions as well.

LAM: This request was essentially to redesign Hatsune Miku in a modern way. As Sasaki-san mentioned earlier, I struggled a lot with how much artistic flair and symbolism I should incorporate. It was also a battle with interpreting my own duality: LAM the artist and LAM the Miku fan. So at first, I was really worried about finding a balance. It felt like I was working on a public works project. However, Sasaki-san kept encouraging me positively, saying, "Just draw the natural Hatsune Miku that you envision". Thanks to those words, I felt much more at ease and was able to express my own version of Miku in a straightforward way.

On the one hand, Hatsune Miku is a haven, a symbol, and a muse for all creators, including myself. That's why it was clear that this Miku would not be the LAM Miku I've drawn in previous projects—that is, a Miku with a more edgy design or one that emphasizes elements unique to that content. I wanted to create a new look for Miku that would appeal to a wide audience, though it's probably impossible to appeal to everyone. I carefully balanced that aspect during the creation process. Considering Mr. Sasaki's feelings and the circumstances under which he asked me to do this, it had to be a Miku that only LAM could create. But at the same time, it had to be a Miku that "anyone other than me could draw". This creative process involved thoroughly considering how to respond to that contradiction.

 

[MagicalMiku]

"Redefining the Image of Hatsune Miku": VOCALOID6 special interview [PART5]
(translated from the original interview in japanese)
https://realsound.jp/tech/2026/04/post-2365019.html

KEI and iXima's respect for Hatsune Miku, and a detailed look explanation by LAM, representing "individuality"
--Just imagining it, it's easy to see how incredibly difficult the production must have been. Mr. Sasaki, what are your thoughts after hearing what Mr. LAM had to say?

Sasaki: As LAM said, I get the impression that about 95% of the countless Hatsune Mikus in the world are each inspired with their own worldview, the individuality that emanates from the creator and the song itself. However, this time, I think the task was to depict the Miku that is just before that 5%, the one that we "want to be". In order to entrust that to someone, I had to be able to make up my mind that "This is it". When I think about what it was about LAM that led to that sense of trust, I think it was his "sense of concentration on the world of the work, the feeling of sinking deep into it". This time, I feel like he really sank deep into the internet image that is Hatsune Miku.

I think LAM's most representative works are definitely the music videos for Kanaria. When I saw the illustrations for those songs, I got the impression that they were deeply immersed in the musical world that Kanaria creates. Not only are the output works wonderful, but I also felt that he is someone who seriously engages with the music in the process of creating the work. I felt the same way with iXima. From the work that iXima did with the Vocaloid producer Waka, I could feel the context of how iXima perceived and tried to express music, and how she responded to Waka's requests, and I felt that she is someone who can skillfully consider and intensely concentrate on adjacent worldviews of expression. Waka then went on to do epoch-making work with illustrator Nou and Kairiki Bear, which I admired. LAM also seems to be intensely focused, like using a magnifying glass to tightly focus the light and create a small, very dense light. I thought he was someone who could do that. It's all just my own imagination, though (laughs).

Ultimately, the illustration that LAM submitted had the perfect expression, and while it was versatile, I felt that it was sprinkled with LAM's signature style, which was tightly packed into key places. This is also true of the arrangement of the hair ornament, which is a metaphor for AI. There was also a sense of balance in how they portrayed Hatsune Miku as a girl of relatable age, and I feel that they made the concept of Hatsune Miku very positive, as she will continue to sing many different songs in the future.

LAM: I'm so happy! When I first spoke with Sasaki-san, I was struck by how he spoke of Hatsune Miku, I could really feel his love for Miku from the way he referred to her. So, it's incredibly gratifying to hear him say that. Also, I felt there were quite a few similarities between Sasaki-san and myself. For example, how we come to terms with abstract things like what we're thinking or what we want to achieve, and how we go about putting it into words and sharing it with others. That's just my own opinion, though (laughs).

I'm often perceived as an artist who prioritizes groove, and that's certainly a strong aspect of my work. However, I also enjoy constantly thinking about how to respond to a given topic or theme in the most unique and thoughtful way possible. In the case of Kanaria, which I mentioned earlier, I always consider the world I see when listening to the song, what the song is asking for, what kind of feeling it wants to convey, and then what the most appropriate way to express that is. In that respect, I think I was a good match for Sasaki-san, and that's exactly the mindset I approached the project with.

--Given that context, could you please explain what aspects of the Hatsune Miku V6 design you particularly focused on?

LAM: When I considered how to create a design that was appropriate for V6 Miku while respecting the image of Hatsune Miku that has been nurtured by culture, without any specific instructions like "please do it this way", I thought that the most important thing should be to not betray my own image of Hatsune Miku. So, what is "my own image of Hatsune Miku"? When I thought about that, the first thing that came to mind was KEI's Hatsune Miku, which was a turning point that greatly changed my life. That was a very memorable image from my formative experience. Big, voluminous twin tails, a gray sleeveless vest, and a big tie, something like that. I followed those symbolic parts of the original KEI's design, and arrived at a method of incorporating LAM's style, V6's style, and a modern feel into it. Many people noticed, but the pose is also a tribute to KEI. I also really liked iXima's Miku's white-based costume, so after thinking about how I could somehow mix in that lineage, I decided to take that element with a white collar.

In addition, since V6 is taking on a more independent Miku this time around, I wanted to incorporate that element in some way, so I came up with two ideas. First, I incorporated metaphors into specific parts. The heart-shaped hair ornament and the electrocardiogram mark on her left chest are metaphors for the human heart and heartbeat. And personally, I think the biggest change in this look is that her ears are now visible. I suggested this myself. Headphones have been passed down through generations as a purely mechanical symbol, but I thought about what Miku would want if she had the possibility of making her own choices. Recently, really cool wireless earphones have become popular, and I thought Miku might be interested in them too. She might be thinking about choosing different earphones instead of headphones, or maybe letting her ears show from her hair. With that in mind, I came up with this design.