When Gachiakuta‘s second cour premieres next week, fans will hear a familiar voice behind its fiery new opening, “LET’S JUST CRASH.” It’s performed by Mori Calliope, hololive English’s resident reaper, and, as she puts it, “a longtime Gachiakuta stan.”
The VTuber‘s friendship with mangaka Kei Urana runs deep; the two have traded fan art and admiration for years (Urana even drew Calliope’s current profile picture on X). So when Calliope got the call to make a song for her favorite manga turned anime, her first reaction was disbelief. “I thought it was a dream — or a joke,” she laughs.
For Calliope, the song captures what she calls “hope in the gutter,” or the rage and beauty coexisting in chaos, just like the world of Gachiakuta itself. “Even now, it still doesn’t totally feel real,” she tells Mashable over a video call from what looks like the Underworld. “I’m just so thrilled to be involved in my favorite series of all time.”
We caught up with Calliope to talk about turning fandom into collaboration, the chaos and catharsis of Gachiakuta, and how she hopes this moment opens more doors for virtual artists in anime and beyond.
Making music for anime has always been a dream of yours. How did it feel when you first found out you’d be performing the opening for Gachiakuta‘s second cour?
Oh man, honestly, it still doesn’t feel real. When I first found out, I couldn’t believe it. It didn’t fully sink in until I actually started working on the song. Part of me kept thinking, Maybe they’ll take it back. Maybe they’ll change their minds.
When my producer told me, “Mori, I’ve got some big news for you — we need to meet in person,” I knew something huge was coming. She only does that when it’s something major. So we met, and I kept trying to guess what it could be. In the back of my mind, I thought, Maybe it’s Gachiakuta. Maybe they’re going to offer it to me.
And when she finally said it, I just froze. I didn’t think it was real. It felt like a dream or even a joke at first. Even now, after finishing the song, it still doesn’t totally feel real. I’m just so thrilled to be involved in my favorite series of all time. It’s such an exciting feeling.
You’ve called Gachiakuta your favorite series ever. What first drew you into Kei Urana’s world?
It’s definitely Urana’s style. The way she draws is unlike any other manga artist I’ve ever seen. Everybody’s got their own distinct style in the manga world, but hers is just so far removed and in the best way possible. I also feel a lot of Western influence in her art, which I really connect with.
I’ve always loved Western cartoons and Japanese media equally, and her art feels like the perfect blend of both. I used to draw a lot back in the day, and I also feel like I drew with a style that combined Western and Eastern sensibilities, too, so it really spoke to me.
But it’s not just the visuals — I love the way she writes characters. She’s amazing at writing characters. There are so many different personalities in Gachiakuta, all going through their own struggles, but doing it together. I can’t help but love every single one of them.
Credit: ©Kei Urana, Hideyoshi Andou and KODANSHA/ “GACHIAKUTA” Production Committee
Do you have a favorite Gachiakuta character?
A lot of my favorite characters are not in the anime yet, but I will go ahead and say my favorite who has come out in the anime so far is Amo. I’ve always been a huge Amo fan. I love everything about her. She might seem crazy on the surface, but there’s this softness inside her. Just like Rudo, she’s slowly becoming more human, learning what it means to connect with others. I love their dynamic — how they evolve side by side.
How did you approach translating Gachiakuta‘s gritty, metallic world into music?
Well, first and foremost, with Gachiakuta, since it’s my favorite series of all time, I really tried to take inspiration from every part of the world that I love. Not just the setting, but the characters too. For example, the rage that Rudo feels, and everything he’s going through in this world of trash and dystopia, but it’s also so, so beautiful. There’s hope within all that ruin. I wanted to bring all of that together in a song that says, “No matter what kind of garbage situation we’re in, let’s make our dream come true. Let’s accomplish our goal.”
The gritty world also influenced the sound design. I specifically asked my producer to include more metallic, gritty, “trash-core” sounds, something that really reflected Gachiakuta‘s atmosphere. I hope that comes through to the audience when they hear it.
You’ve described the song as capturing “hope in the gutter.” What does that mean to you?
It’s actually a lyric from the song. It’s in Japanese, but it translates to “hope in the gutter.” That line is at the heart of the song. It’s about finding something bright even in the dirtiest, darkest places. There’s anger and frustration in this world, but also hope. That mix is what makes Gachiakuta so powerful to me.
Credit: ©Kei Urana, Hideyoshi Andou and KODANSHA/ “GACHIAKUTA” Production Committee
Was it harder or easier to write because you’re such a big fan?
Because I’m such a big fan, it was actually really hard, but also really fun. When I’m deeply invested in something, I take more time to make sure it’s perfect. I wanted the song to truly represent the story I love so much.
The first opening, “HUGs” by Paledusk, was just so good — I couldn’t have asked for a better one. So when it came time for mine, I was like, “OK, how do I make something that feels just as fitting?” That pressure came from a place of love.
What kind of direction or emotions did you share with your producer?
First off, I made sure he’d read the manga, or at least some of it. That was really important to me. I wanted this song to be made by people who understood the story. Luckily, a friend of his had already introduced him to Gachiakuta, so he was familiar with it.
I gave him a big list of what I wanted: lots of gritty, “trash-core” sounds; something that leaned rock but not too metal; and room for me to shout and scream without going full-on guttural. I wanted that balance between rock and rap, something that hints at metal but still fits my voice. And he completely nailed it. He created exactly the kind of track I’d always dreamed of hearing for Gachiakuta.
Did you focus on catchiness at all, something that could get stuck in someone’s head?
In my personal opinion, no, I didn’t really think about catchiness. I want to make songs that will be remembered forever, not just for a few months or a year. If I focus too much on making something catchy, I feel like I could get lost chasing trends instead of emotion.
That approach can totally work for other songs, and I think there’s real merit to it — but not for Gachiakuta. It just doesn’t fit what the story is about, or my own artistic sensibilities. There are plenty of trendy songs that I love to death, but this one needed to be something deeper, something that lasts.
Credit: Courtesy of Crunchyroll and Mori Calliope
Anime openings often become cultural touchstones. What excites you about reaching Gachiakuta viewers who might be experiencing you for the first time?
Oh man, I’m super nervous. It’s totally unexplored territory for me. But I’m always happy to make new friends along the way — and to welcome more skeletons to the skeleton army. Come hang out anytime! We’re a really chill community. We love talking about music, just relaxing, and having fun on stream.
I also really love the Gachiakuta community. In fact, I have a secret Gachiakuta side account. I’ve mentioned it on stream before. It’s where I retweet my favorite art, talk about new chapters, and interact with fans without them knowing it’s me. It’s kind of a double-life situation. But now that this song is coming out, I’m happy to say, “Hey, this is me, Mori Calliope — nice to meet you.” If people discover me through Gachiakuta and decide to stick around, that makes me really happy.
You mentioned having that secret fan account. What do you enjoy about being able to experience fandom that way?
It’s so freeing. I can just fangirl over my favorite characters and relationships, retweet art, and get excited about every new chapter release without worrying about being “Mori Calliope.” It’s nice to express myself completely and just be another fan in the crowd.
What does this kind of collaboration mean for your growth and evolution as an artist?
I’m just super grateful to even have the opportunity. Ever since my debut as a VTuber, I’ve wanted to make songs for anime. Before that, I was an underground artist — slowly climbing, little by little — so this feels like a huge full-circle moment.
It’s funny because for a lot of artists, a tie-in like this feels like a stepping stone to bigger things. But for me, this song is the goal. This is the dream I’ve been chasing since the beginning. I don’t know what happens next, but I’m just enjoying this moment.
As one of the biggest English-speaking VTubers in music, what do you hope this project represents for virtual artists?
I’m definitely not the first VTuber to make a song for an anime, but in the English-speaking world, it’s still pretty rare. I hope this helps more people see that virtual artists are completely viable for projects like this.
We’re just like any other musicians. The only difference is how we look. We write, we perform, we create. In my case, I write all my own lyrics and even compose some of my songs. So my hope is that this opens more opportunities for virtual artists to collaborate on anime and games in the future.
VTubing has expanded into music, anime, live shows, and even fashion. What do you think is the next frontier for creators like you?
I feel like the sky’s the limit. Though it may take some time. I think, first, more anime and game projects for sure. That’s where my heart is, and that’s where I want to keep focusing my energy.
But I also think there’s space for virtual artists to explore more mainstream directions too, and I’m cheering for anyone who wants to take that path. There’s room for all kinds of creativity in this space.
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So much of internet culture is personality-driven. What do you think keeps your fans invested in you beyond the music?
It’s hard to talk about myself that way, but I think it’s the gap. On stage, I have this confident, cool persona, the version of me that I want the world to see as an artist. But off stage, I’m honestly kind of awkward and clumsy. My fans know that from my streams.
Even though I get embarrassed sometimes, they seem to really love that side of me. They love teasing me, which…well, I’ve learned to accept. But I think that balance, showing strength and vulnerability, makes the connection more real. Nobody’s perfect all the time, and I think people appreciate seeing both sides.
Have you seen the opening paired with the visuals yet?
No, not yet! At the time of this interview, I’ve only seen the PV [promo video]. They showed it to me to capture my real-time reaction, and honestly, I was kind of a mess afterwards. I don’t think I said anything coherent, but I was just so happy. I couldn’t stop smiling. I’m really, really excited to see the full opening animation when it’s finally revealed.