#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

The period from the release of the 6th single in August 2025 through the end of October is impossible to discuss without mentioning one specific topic. On August 8th, just two days after the single's release, Yuan Yamaguchi announced her graduation. It was a bolt from the blue.

Though she had spoken at One-man Live Vol. 2 about finding "confidence and strength," she revealed that her anxiety about standing on stage had never truly faded. Her graduation was set for the end of October. Soon after, Ai Kinoshita announced a hiatus for academic reasons. The community was shaken by these consecutive departures. While rumors swirled about "true" reasons, it seems the physical and mental demands of being an idol—combined with the rigorous path of elite university entrance exams—were simply immense.

Before reaching the major Aozora Fes at the end of August, tensions rose further. An announcement of a solo concert for the Aozora-gumi (the "main" selection) sparked debate: "If Aozora-gumi is for media work and Kumo-gumi is for live shows, why is Aozora doing a solo live?" Then, rumors of a male dance unit guesting at Aozora Fes set X (formerly Twitter) ablaze with confusion.

I watched Aozora Fes via livestream. The highlight for me came early: Yuuho Aoki’s tears during Best Friends. During the line "Memories start to shine from beyond the night," she broke down, her voice trembling through the microphone. Seeing her flanked by the departing Kinoshita and Yamaguchi made the moment incredibly heavy.

The guest segment lasted nearly 40 minutes—about 30% of the show. Whether this was a new direction or an external obligation, it felt intrusive. That space should belong to the members and the fans alone. There was no announcement for a 7th single or a new TV show, only news of a December year-end live. During the encore, they performed a choral version of Ao-zora ni Tsuite Kangaeru. Some fans wanted the original version for the "final 23-member performance," but as an anniversary show, the nostalgic choral arrangement felt appropriate.

In September, the atmosphere reached a breaking point following a management interview in B.L.T. magazine. When the interviewer expressed the fans' frustration—"Why aren't they more popular yet?"—the management responded with, "Isn't it fine to just be ourselves?" This was perceived by many as irresponsible. However, I saw it differently. By remaining calm, perhaps they were trying to reassure fans that the group’s intrinsic charm is enough. The "Official Rival of Nogizaka46" label is becoming a shackle; the group needs to establish "Boku-Ao-ness" as its own entity, not defined by who they are rivaling.

The stage play Natsugasumi returned in September with a double cast. While comparing performances is subjective, Rikopin Iwamoto’s raw portrayal of the scene encouraging the leads to move forward resonated deeply with me. During the final show, Toa Yagi gave a moving speech, acknowledging it was the last time all 23 members would perform their debut song together.

Just as Natsugasumi ended, a third blow landed: Mana Mochinaga announced her graduation. To see "Mocchii"—who had been moving toward the front in recent singles—depart was another shock. Finally, the 7th single was announced for December: 11 members in Aozora-gumi and 10 in Kumo-gumi. Hitomin Shiogama returned to Aozora, and Yuna Hasegawa joined for the first time. Meanwhile, Rikopin Iwamoto continued to be the group's "media warrior," leaving a massive impression on variety shows like Chidori no Oni Renchan with a desperate, spirited headslide during a race.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

I previously wrote about how my interest in Boku-Ao never seems to fade, but I must confess: during the summer of 2025, leading up to the 6th single release, my "Boku-Ao fever" cooled down a bit. Even with a week-long archive available for the One-man Live Vol. 2 stream, I only watched it during the live broadcast.

I started writing this during the rainy season—hence the umbrella header image—but my spirits didn't quite rise, and summer arrived before I could post it. I’ll leave the header as it is to reflect that stagnant mood. Ironically, the music video for the new song turned out to look exactly like this photo, but I assure you, it’s just a coincidence from a stock photo site.

This entry covers events up to the release date on August 6th. Significant events occurred after that, which I won't address here, so please forgive any descriptions that may seem out of sync with current reality.

At the end of June 2025, their variety show Saka-Ao (Boku-Ao no Sakamichi Nobiritai) came to an abrupt end after one year and eight months. A few weeks before the finale, Toa Yagi and Miuna Sugiura appeared on the radio show Tokyo Speak Easy with Chocolate Planet. It was an insightful talk. Chocolate Planet shared their raw impressions: Rian Akita is still "a mystery," while Miuna and Rikopin (Iwamoto) are "aggressive" in a good way. They noted that Kokoka Hagiwara and Ami Kanazawa need to "show themselves more."

Interestingly, the goal for the group was phrased as "an arena show someday," a slight step back from the "this year" target mentioned last December. They also discussed the harsh reality of handshake event popularity. Chocolate Planet noted that while Suzuki Hayasaki draws huge crowds, others feel lonely in the dressing room. Matsuo-san offered some comfort: "Even if you're not popular now, miracles happen. I was never the popular one. Everything the management tries is a result of them thinking desperately for the group."

It’s a bit sad that the show ended just as these relationships were forming. The hosts didn't even know the difference between Aozora-gumi and Kumo-gumi yet. Due to scheduling, the Kumo-gumi didn't even appear in the final studio recording. Given the current state of Fuji TV, perhaps it couldn't be helped.

However, I’ve noticed a growing connection with TBS. Their YouTube documentaries now credit TBS as a production partner, and One-man Vol. 2 will be broadcast on TBS's CS channel. With Rikopin’s strong ties to Sasuke, could a new variety show be on the horizon? Rikopin's contribution is immense. During the One-man encore, she said, "Sasuke changed my life." That balance beam was her literal turning point.

Meanwhile, in the first Kumo-gumi show under the new system on June 10th, the lead roles were distributed among Nana (3 songs), Kudo (3), Hitomin (3), Miisa (2), Rian (1), and Yuki (1). Kokoka had no lead. The contrast between Rikopin’s rise and the others' struggles is a reminder that they are all constantly "on the balance beam."

June 15th brought One-man Live Vol. 2. The show opened with the members in their first-single outfits. Back then, the outfits felt a bit rustic, which suited them. Now, after two years of growth, they looked almost "too polished" for those clothes—a striking imbalance.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group, Boku ga Mitakatta Aozora (commonly known as Boku-Ao), written by a fan living in Kyushu, Japan, and originally posted on the Japanese platform "note." The author resides in Kyushu and shares their personal journey with the group. AI was used for translation, and voice synthesis software was used for the audio.

The first nationwide tour took a breather after the Nagoya show in late April. We entered May with the news that the selection announcement for the 6th single would be streamed at midnight on the last day of the Golden Week holidays.

Golden Week kicked off with GirlsAward on the 3rd, featuring Suzuki and Yagi. I believe it was streamed on ABEMA. Someday, I want to see Boku-Ao as a standalone group walking that runway-style flower path while singing. Live houses where the stage is almost at eye level are great, but there’s something special about seeing them on a stage you have to look up at. I love the visuals of them standing on a high stage, with the penlights in the stands blurring into a soft glow in the background. Of course, when that time comes, I want to see it in person, not through a screen.

On the 5th, the Boku-Ao Music Festival was held in Yokosuka. TikTok provided generous hour-long streams for both the day and night sessions. This event had a different structure from their usual lives, and watching it on TikTok, I felt it might have been one of their most satisfying events to date. They were blessed with beautiful weather, too.

For both sessions, they performed songs by Kimaguren, and I was struck by how incredible professionals are—the way they hyped the crowd was master-class. The acoustic version of Seifuku no Parachute was teased on TikTok beforehand, and while members told us in their blogs to "look forward to this," it truly exceeded expectations. Then there was Toa-chan covering Miyuki Nakajima; her low register is simply magnetic.

During the live portions, Hitomin (Hitomi Hasegawa) showcased an English rap part and a flute performance. She also appeared in several small-group vocal units, seemingly having more stage time than most. In her blog that same day, she mentioned, "I did a bit of rapping during my lessons in Korea." It confirms she really did have a period where she was aiming to be a K-pop idol. Hitomin has been revealing a lot of "first-time" information lately. She has so many "drawers" to pull from; I’m excited to see what else she has in store.

Speaking of revealing things, have you noticed managers popping up more often in SHOWROOM streams lately? We don't see them on screen, of course, but I’d love it if they just did a two-person dialogue format. They are undoubtedly the closest adults to the members and share so many experiences; it would be fascinating. For the older members, these managers are likely like slightly older sisters, and I bet they often find more in common with their managers than with some other members.

Back to the Music Festival: while songs like Suki Nari, Aokan, and Ano Hi were performed by everyone, most other tracks used smaller units. From the stream, I saw Yagi and Suzuki doing solo covers, alongside appearances by Iwamoto, Yanagihori, Yoshimoto, Sugiura, Shiogama, and Hasegawa. It gave the impression that stage time was reserved for those evaluated as capable of singing live. Since they were co-starring with professionals, they couldn't show anything below standard. It felt like a glimpse into a certain professional severity: if you don't have the skills, you don't get the spotlight.

In that context, Hitomin’s frequent appearances stood out compared to her usual position. Even so, at the time, I didn't think she'd make the 6th single selection. I want her to, of course, but if she moved up to Aozora now, she might get buried. She actually wrote something similar in her blog after the announcement.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group, Boku ga Mitakatta Aozora (commonly known as Boku-Ao), written by a fan living in Kyushu, Japan, and originally posted on the Japanese platform "note." The author resides in Kyushu and shares their personal journey with the group. AI was used for translation, and voice synthesis software was used for the audio.

The second day, April 20th, was for the free live performance and the handshake event. In the morning, I checked my reference number for the free live: it was in the 600s. Apparently, that's right on the edge of not being able to get in. I had to check out of my hotel at 10:00 AM, but the gathering time for the live wasn't until noon. I was at a loss for how to kill time. I remembered there were handwritten messages from Suzuki and Ami at the Tower Records in Parco, so I went to see them—but even then, it was only 10:15 AM.

I decided to wander around aimlessly. As I was "uron-koron" (strolling) about, the Fukuoka Kyotei (Boat Race) Track appeared right before my eyes. "Well," I thought, "let's go in."

I don't gamble at all normally, but honestly, it was a great way to pass the time. I bet on two races and won one. Thank you, Boku-Ao! Watching the human drama unfolding there was so fascinating that I almost ran late for the free live. Idol handshake events and boat racing... it’s a strange pairing. But really, other than the age group being several decades higher, the sight of a crowd of middle-aged men staring intensely at something was exactly the same. Though, the boat races had a lot more shouting.

I made it into the free live successfully, watching from the very back. They performed "Best Friend," which I had been dying to see because Nana has so many parts in it. I love the choreography in the middle where they split into two groups and face each other for the "Best Frie-nd!" line.

That day, I managed to reunite with two of the three fans I had met in Kagoshima last year. I had noticed them the day before—"Ah, that's definitely them"—so I reached out. Their dedication to the fandom remains impressive. Like me, they had traveled from outside the prefecture, but listening to the conversations around me, it felt like many fans had made the trek all the way from Tokyo.

The handshake event started in the afternoon. It was my first time. I realized quickly that there is a lot of downtime. Since it's a one-hour session followed by a 30-minute break, if you only have one ticket for a slot, your entire experience ends in a few minutes. I spent the gaps riding the Nishitetsu trains and the subway, even catching a nap while sitting down.

What I found most interesting was the crowd density for each lane. If most lanes were like light meringue, Ami Kanazawa’s lane was like heavy whipped cream, and Suzuki Hayasaki’s was as dense as "anko" (sweet bean paste). During Part 1, I told Eren Sugiura that I’m registered as her fan club member. In Part 3, I told Nana Shiogama that I had attended the Yokado opening event last year. Nana replied, "Ah! I might actually remember that!" That made me happy.

In Part 2, I went specifically to see Hitomi, but since I was holding my Nana towel, Nana reacted first: "Ah, thank you for coming to the live yesterday, too!" I gave her a clumsy, business-like reply—"I'll be back for Part 3!"—and by the time I turned to Hitomi, she looked at me like, "Wait, me? Aren't you Nana's fan?" I managed to tell her that her MCing yesterday was great, but it was a bit of a mess.

I say this now, but I intend for this handshake event to be my first and last. (Though, who knows?) For me, there's something that feels slightly "off" about interacting so directly and closely with someone from "the other side" of the world. I don't mean this as a criticism at all—everyone has their own way of enjoying things. For me, I was able to say what I’ve wanted to say for a long time, and I'm satisfied with that.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group, Boku ga Mitakatta Aozora (commonly known as Boku-Ao), written by a fan living in Kyushu, Japan, and originally posted on the Japanese platform "note." The author resides in Kyushu and shares their personal journey with the group. AI was used for translation, and voice synthesis software was used for the audio.

Well, last time I ended up writing something rather pedantic and gloomy... but finally, April 2024 arrived! On the 19th and 20th, I attended the Fukuoka performances (both day and night shows) and the handshake event!

In a word: it was spectacular. I thought about posting an article immediately while I was still riding the high, but I realized it would be so "creepy" that it wouldn't be fit for public consumption. So, I’m writing this a week later. (It’s probably still plenty creepy, though.) I’ll record this chronologically as a personal memoir.

First, the tension spiked the day before when the reference numbers were revealed. My number for the day show was in the 20s. This was it—the chance of a lifetime. I wasn't familiar with the layout of Toyota Hall, but a number in the 20s meant at least the second row, and if I played my cards right, the very front.

On the day of the show, I left home with plenty of time to spare. I wanted to buy merch and had no idea how the venue operated. After an early lunch, I joined the merch line around 11:00 AM. There were maybe 20 or 30 people—not too crowded. I successfully bought a Nana Shiogama towel as planned and stepped away for a bit.

When I returned before 1:00 PM, a large crowd had gathered. The staff began announcing reference numbers with surprisingly firm voices. Their words were polite ("Please do X"), but the nuance was pure command. I suppose you need that kind of authority to manage a crowd. It was amusing to watch the relationship between the "sheepdogs" and the "flock."

I panicked for a second because the drink ticket was cash-only (I thought I’d read on Google Maps that they took mobile payments), but since they gave change, I relaxed. I couldn't afford any delays during entry. Finally, the doors opened. I didn't even stop for my drink; I headed straight into the hall. I managed to secure a spot on the far right of the front row! I hesitated for a moment because a speaker was partially blocking the stage, and I considered the center of the second row instead. However, the lack of heads in front of me, the ability to lean on the railing (though you get scolded the moment you do), and the fact that Nana often stands on the right side of the stage made me prioritize the front row. I waited there for an hour, barely moving.

Seriously, the front row is dangerous. As expected, during the initial self-introductions, Yuan and Yuuho were hidden behind the speaker, but for the performances, I could see the members from head to toe. Members on the far opposite side were distant, but while early songs had fixed left/right positions, the newer choreography is much more diverse. Members were constantly rotating right in front of my eyes.

And my god... they are all ridiculously cute. During the first song, "Koi wa Baisoku," I was mesmerized by Mana Mochinaga. During the following "Seishun no Tabibito yo," I was overwhelmed by Kokoka Hagiwara’s beauty. Truly, Kokoka was so beautiful it almost brought tears to my eyes.

It was my first live show since last year's One-man, and while my number then (in the 300s) wasn't bad, seeing them this close is a different reality. I was so starstruck that my "calls" became weak. I lost all vocabulary. All I could manage was "Whoa..." or "Amazing..."

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

It’s late January 2025. It feels a bit early to call it "spring," but for the sake of a clean break, I’ll mark this as the beginning of "Boku-Ao: Spring of the Second Year."

This period should have been full of excitement—a new single release, the start of a nationwide tour, and the announcements for a one-man live and Aozora Fes. Yet, somehow, there’s been a lingering mood of stagnation, a sense of frustration. Writing this was actually a bit painful.

However, one epoch-making event did occur: around the start of the tour, the music video for "Koi wa Baisoku" finally surpassed the view count of "Ao-Zora ni tsuite Kangaeru." A song has finally emerged that exceeds the numbers of their symbolic debut track. Of course, one could argue whether we should treat the debut song—which built its views steadily and honestly—on the same level as the third single onwards, where the numbers seem… "managed" in a different way.

Then there was the YouTube series documenting their training camp at the start of the year. In the opening of Part 1, the selection for the fifth single was announced. To everyone’s shock, the lineup was exactly the same as the fourth. The community was buzzing with confusion, but a staff blog post updated immediately after clarified the intent: "We believe there is still so much this specific lineup can achieve."

I think many fans accepted that reasoning. Personally, I was surprised because I fully expected either Riko Iwamoto or Kokoka Hagiwara—or both—to move up to the Aozora-gumi. But then again, if they moved up, who would move to the Kumo-gumi? That’s a difficult question in itself. Still, I’m not thrilled that the group’s structural flexibility seems to have stiffened so early in their second year. That’s why I was so excited by Mocchie’s (Mana Mochinaga) position in the fifth single’s music video—ranked 4th or 5th, even higher than Kokona. Seeing someone finally break into that "core seven" was thrilling.

To borrow a phrase from Puchi Kashima: "Personnel changes are the most interesting part." Who is evaluated how, and where are they placed? It sounds a bit cynical, but ultimately, the whole world runs on personnel management. If two people gather, they fight; if three gather, they form factions. While "faction" isn't quite the right word, there is a distinct bond between Toa Yagi, Suzuki Hayasaki, Karen Yanagihori, Kokona Yoshimoto, and Aoi Anno. These five, who match the core members from the very beginning, aren't just "friends." There is an intimacy there that feels a bit impenetrable to other members.

But honestly, that makes sense. They experienced everything for the first time, starting from zero, together. It’s what you’d call "Sisterhood." There’s a scene from a sparsely attended release event for the first single where Poli (Yuuho Aoki) is giving a tearful speech, and Toa is crying right beside her. Later, Toa commented, "I felt like the venue wasn't full because I was the center." There is a massive difference between the members who confronted that reality at the very front and those who watched it over their shoulders. That solidarity comes from enduring that specific pressure together. I wonder when it was that Kokona said she "cried on Suzuki's shoulder"?

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

The star of this winter—from late 2024 to early 2025—was undoubtedly Rikopin. From the Sasuke (Ninja Warrior) idol qualifiers to the main event at the end of the year, and then her appearance in Kunoichi in the New Year, she was everywhere. Looking across the entire group, I think this is the first time since their debut that a member has generated this much buzz outside of the core fandom.

In the qualifiers, she faced a heartbreaking disqualification after falling in the final stage. However, whether at the venue or on the stream, Rikopin was definitely the one who captured the viewers' hearts. You could feel it in the way the videos were edited and in the comments section. If she had played it safe, slowed her pace, and won the whole thing there, I don’t think it would have had the same impact. It might sound strange, but she "lost the battle to win the war." The fact that her blog was flooded with comments from new fan club members during that period says it all. In both the main Sasuke event and Kunoichi, she received the most coverage among the idol participants. The general director even mentioned wanting to "continue nurturing" the two idol representatives, so my expectations for her future are high.

As a side note, the Sasuke YouTube channel often showed their manager. Some fans had been saying for a while that the manager must be a beauty, and they were right. She even had a Riko Iwamoto towel draped firmly over her shoulder. Another beautiful manager appeared in the news footage on Coming-of-Age Day. The camera unexpectedly pivoted from Yuan-chan to Yuzu-chan, and in the background, you could see a manager holding "Maya" and "Ema" (votive tablets) frantically trying to get out of the shot. It was hilarious. There was also a male staff member who, right after Rikopin’s tearful disqualification in the qualifiers, told her: "You were cool. Hold your head high." That was a class act.

This was also the period when Saka-Ao finally started getting funny. At the beginning, there was a mismatch between the overly "edgy" segments and the girls' experience, but now they seem to be meeting in the middle. I wonder if they intend to make Kokona’s "yankee" persona and Yuria’s "mom" persona permanent? Kokona is trying her best to deny it on her blog, though. The hypnosis segment at the end of the year and the talent show in the New Year were particularly great. My only complaint is that they rush through these projects in a single week; they could easily stretch them across two or three. Honestly, the "streaming only" portion at the end of the show is often more substantial than the main broadcast, and I find myself watching that more intently. However, with Fuji TV going through various internal shuffles, I do worry about the future of the music programs Boku-Ao finally managed to get onto, like Music Fair and the FNS Music Festival. Since they have deep ties with Fuji TV, including Saka-Ao, the upcoming developments make me a bit anxious.

Entering December, the goal of reaching 100,000 YouTube subscribers by the end of the year—which Su-chan had set when "Boku-Tube" launched—finally came into view. When the channel started at the end of May, there were about 40,000 subscribers. Growth was slow through summer and autumn, and honestly, the hurdle seemed high. But around the release of the fourth single, the numbers began to climb noticeably. On the 24th at 9 PM, just as they were on the verge of the milestone, Nana started a "Reindeer Count" live stream. Between that and the Christmas stream on the 25th, it felt like receiving a wonderful holiday gift.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

6. Toa Yagi

The undisputed "Center of Boku-Ao." Someone born to express things. I felt that deeply once again during Natsugasumi. I believe the center of a group at its launch isn't chosen just for dancing, singing, or looks. It’s about being the personification of the group’s very identity. Between the second single and Natsugasumi, she changed so much it made me wonder, "What happened?" Her blog at the time gave us a glimpse of that "what." There’s too much I want to say about her, so I’ll leave it at this—but as I’ve said before, I still love that tearful face from the day she found out she was the debut center!

7. Suzuki Hayasaki

The undeniable ace of Boku-Ao. Everyone, including herself, recognizes it. She’s the kind of person who can deliver that perfect, much-needed phrase like "I don't want to let my dreams end as just dreams" in exactly the right situation. She can do anything. But it’s not just that she’s clever or efficient; she has the raw ability and the capacity for hard work to back it up. People like that are rare. And yet, she isn’t arrogant about it at all. I especially like her tone on Saka-Ao when she smelled something weird on the air hockey table and just went, "Wait, it stinks..." Someone who talks like that definitely won't succumb to hypnosis.

8. Kokoka Hagiwara

If someone is going to move up to the Aozora-gumi next, I think it’s her. It feels like she’s finally starting to understand how to present herself.

9. Kokona Yoshimoto

She has incredibly beautiful table manners. You see many girls who hold chopsticks well, but these days, it’s rare to see a young lady who handles small side dishes so gracefully while eating. You should definitely watch the BBQ video after Aozora Fes or the Boku-Meshi series to see for yourself. Her blog posts are so meticulous and thoughtful, which is why I imagine it’s complicated for her to be seen as having a "yankee" persona.

10. Yuuho Aoki

Like Hitomin, she’s someone I’m fascinated by rather than just "liking." She feels like a very sensible, ordinary college student who is funny within a two-meter radius. During the Kumo-gumi performance, there was a scene where she was the only one left out of the Seifuku no Mannequin members, and honestly, I was surprised they showed us that much. Later, she was able to participate in the "Seishun Osame" version of Mannequin. I’m glad for her. I hope she blossoms through soccer, though that’s a competitive field with many experts. That said, she was just appointed as a regular on a program for JEF United Chiba. I’m rooting for her.

11. Miisa Yaegashi

I think she’s one of the members the staff blog meant when they mentioned someone who "might be unfinished now but will bloom in about three years." She has plenty of potential and plenty of time, so I hope she takes it slow without rushing.

12. Ai Kinoshita

Another member who will likely carry the future of the group. However, I sense a certain lightness and flexibility in her—as if she’s saying, "I have so many things I want to do including being an idol, and I happen to be doing this now, but if I find something more fun, I might head that way." She’s the type who would succeed at anything.

13. Mana Mochinaga

A beauty with a strong core. She seems to have a tempo or a sense of timing that’s a bit different from the other members.

14. Ami Kanazawa

Since the beginning, she’s said, "I want to stand further forward" and "I want to be in the middle." True to her words, she has steadily—no, rapidly—moved her position toward the front and center. I take my hat off to her grit. She shows her ambition without it feeling overbearing. When someone delivers on their promises like this, you can't help but pay attention. Many say she looks like a young Nanase Nishino, and I agree. Like Nishino-san, I expect she’ll be standing in the center before long.

1. Nana Shiogama

A person of true passion. She once aspired to be a police officer but didn't make it; she then aimed to be a childcare worker but decided to become an idol, following her motto: "When in doubt, choose the more intense path."

I remember a "hidden camera" prank on YouTube where they asked, "If you got an offer from Hollywood, would you choose Boku-Ao or Hollywood?" I was so nervous thinking that Nana, being the "intense path" type, might actually pick Hollywood! But if a chance like that ever really comes along, I want her to think it over and choose whichever path she truly wants for herself.

Currently, she and Miuna are the "comedy duo" of the group. While Miuna wins with her quick wit and improvisation, Nana wins with her physicality. Her reactions are incredibly fast. There’s nothing artificial about her expressions or words; she’s straightforward. She always seems to be speaking from the heart—whether she's happy, having fun, or feeling frustrated. During the encore speech at Aozora Fes, when she said, "Some people mock us when they see us working hard..." I loved seeing that glimpse of her strong-willed nature.

She was the one the female staff raved about as "cute" during the auditions. Being liked by your own gender is a powerful strength. Personally, I think Nana is much cuter when she’s in casual clothes with her hair down—looking like a typical college student—than when her hair is tied up for her stage costumes.

2. Eren Sugiura

She’s someone who has her own world and the power to express it in her own unique words.

Regarding the lyrics of "Ao-Zora ni tsuite Kangaeru," she said: "Right now, I’m the one running, so it makes me wonder if I’ll envy this once I’m an adult. It makes me want to stay a child for a while longer." That’s a remarkably deep thing to say.

She also has the talent to pull the atmosphere of a room toward her in an instant. It’s no wonder she made all the judges laugh during her audition. At the "One-man 1.0" concert, while many members spoke about the past year, she looked to the future, saying, "Someday, I (and the members here) will take you all there (to a bigger stage)."

Personally, I believe that right now, being the center for the Kumo-gumi (Cloud Team) is much better for her future than being buried on the edges of the Aozora-gumi. She’s someone who belongs at the center of the stage. Her short haircut before the third single really boosted her visibility; it suits her vibe perfectly. That was actually one of the reasons I switched my "Oshi" registration from Nana to Eren—I really wanted to see Eren's V-logs.

I also love the moment when she encouraged Toa-chan, who had just been picked as center for the first single, saying: "You can totally do it. You’re good at singing and dancing. You're the best... and you’re cute." I particularly like that tiny pause between "You're the best" and "and you're cute." I don't think there was any hidden meaning; I just liked the timing.

3. Miuna Sunaga

The person who, during the training camp, made Mocchie think: "If Miuna’s name is written with 'heart' and 'ocean,' then maybe 'Kokoka' isn't actually pronounced 'Kokoka'..."

My earliest impression of her was "the girl who cries a lot." When I heard she was popular at the early handshake events, I thought, "Oh, so this is the type people like," but she has since proven her worth. Everyone has a good eye for talent!

I really started noticing her before the third single, once she was tasked with being the MC. It’s amazing how much a person can improve their speaking skills in just one year! Whether it’s on Saka-Ao or Natsu-Live, I feel a sense of relief whenever Miuna is there.

Autumn 2024 was all about "Boku-Ao Sai" (the group's festival). I couldn't attend, so I don't have much to write about firsthand. I really wanted to go, though.

I think it was around this time that they started live-streaming parts of their concerts on TikTok. That makes me so happy. But for some reason, the app notifications for the start of the lives never seem to reach me? I’m always left feeling frustrated when I realize a stream has already ended.

Once November hit, the fourth single was released. Since the third single had been delayed by a month, the gap between releases was only three months. As a fan, I welcome the frequent updates, but the members look incredibly busy. I wonder if they’re getting enough rest. With handshake events or online "Meet & Greets" almost every weekend—and even on weekday evenings for this release—the pace is intense. Wakatsuki-san, formerly of Nogizaka46, mentioned on Kanaderu Radio how busy her idol days were. I guess that’s just the norm, but I can't help but wonder if the student members are actually making it to their university classes.

Speaking of university, I’ve noticed some patterns. For example, Poli was a core member right next to the center for the first single, but in the second, she was suddenly moved to the second row and had less exposure. I was puzzled, but then she returned to her spot by the center for the third. Now, in this fourth single period, Anno seems to have suddenly become less prominent. Is this to accommodate entrance exams? Or am I just overthinking it?

Even their daily activities seem exhausting, so adding entrance exams on top of that—even if they are through recommendations—must leave them with almost no time. I wonder if the management takes that into account. Also, I wonder what happened with Yuan and Yuuho’s schooling. Yuan mentioned moving to Tokyo after joining Boku-Ao, so she must have just started at a university in Kansai at the time. As for Yuuho, an NHK documentary introduced her as attending a university in Fukuoka. Either way, for all the members, this is an age where they face major life choices one after another. It must be tough.

Anyway, moving on...

The release-day events for this single were limited to the AWA Lounge over four days. During this promotion cycle, the Kumo-gumi (Cloud Team) seemed to be left out in the cold. Occasionally, you hear sighs from the Kumo-gumi members, saying things like, "We’re just doing lessons every single day..." Also, there were no nationwide handshake events in Fukuoka for the fourth single. I saw comments online like, "People in the countryside are being neglected," or "If you don't keep going even when the turnout is low, there’s no future."

There were even posts suggesting that because of the sudden addition of numerous online "Meet & Greets" around the release, the management was "desperately scrambling for cash due to financial trouble." However, I also feel the wind starting to change. Hitomin and Yuan’s radio show, Rikopin on Sasuke, Yuuho and her soccer—each member is finding their own strengths. I hope they can all express those unique talents.

Rikopin, in particular, seemed to be gaining a lot of attention during this period. She has a great position in the music video for "Hajimete Suki ni Natta Hito." Having read almost all the members' blogs over the past year, I’ve noticed that when a member is about to go through a change, the atmosphere of their blog changes first.

If a blog is a place to express what's hidden inside, I wonder: do the surroundings change because the person changed, or does the blog change because the situation changed? Since blogs happen in real-time and we only see the results of situational changes later, it’s probably more that the shifts in their environment manifest in their writing. Sometimes, I can see a member's growing resolve bleeding through their words.