Sanrio Acquires Gugenka, Mister Donut Stages an Oshi Battle: Weekly Oshikatsu News (August 29, 2025)

Here is our roundup of notable news in corporate oshikatsu marketing (fan-driven support activities) and the fan business from the week of August 22 to August 28, 2025.

This Week’s Highlights

This was the week when companies themselves began speaking about their involvement with intellectual property (IP) as part of their core business.

Sanrio made the XR and metaverse development company Gugenka a subsidiary, positioning the move as part of its “IP Platformer” strategy. VTuber Hoshimachi Suisei was selected for the “30 UNDER 30” list by the global business magazine Forbes JAPAN, and she also graced the cover of the magazine’s October issue. Casio Computer entered the creator economy sector for the first time and officially released the streaming scheduler “Streamer Times.”

Meanwhile, there were also new developments in on-the-ground marketing. Mister Donut staged an “oshi battle” (a rivalry over which favorite to support) in a commercial starring Mio Imada, while UHA Mikakuto continued to feature the idol group Ae! group in its advertising. Relo Hotels & Resorts, Hotel New Otani, and Riviera Zushi Marina each prepared collaborative lodging and dining projects with different IPs.

DIAGRAMTwo Levels of Corporate IP Engagement Seen This Week

IP as Business Strategy

Sanrio makes XR developer Gugenka a subsidiary to expand IP monetization channels
Casio Computer enters the creator economy with the Streamer Times schedule service and Waves Place AI tool
Hoshimachi Suisei is recognized by Forbes JAPAN 30 UNDER 30 for business growth potential
ZOZOTOWN integrates Nijisanji VTuber Ars Almal into its standard made-to-order apparel framework

IP as Storefront Promotion

Mister Donut uses "Which do you oshi?" commercial copy to turn fan rivalry into store visits
UHA Mikakuto continues casting Ae! group to honestly ask fans to buy both Puccho formats
Taisho Pharmaceutical pairs Lipovitan with three Nijisanji members in a unified cheering-squad theme
Nestle Japan offers a guaranteed Chiikawa wallpaper with a single 494-yen pack purchase

Source: The Oshi Lab's summary of the article

Corporate Mascots and Idol Commercials Drove Purchases

Kiwi Brothers Enter Their 10th Year — Shifting from Celebrity Reliance to Brand Assets

The corporate characters “Kiwi Brothers,” born in 2016, have entered the 10th year since their debut. They are brother characters modeled after green and gold kiwifruits of different colors, developed by Zespri International Japan. For many years, the company ran commercials featuring celebrities. However, a 2015 brand survey reportedly revealed that even when name recognition rose, challenges remained in getting consumers to understand the intrinsic appeal of kiwifruit itself. The company reportedly aimed to develop a brand asset that did not depend on celebrities. In the commercial series from that period, a cat character struggling with healthy eating habits also made a new appearance (AdverTimes. (in Japanese)).

The characters were reportedly designed with a timeless, simple look and a sense of universal appeal meant to be loved by both adults and children.

The Oshi Lab’s Note: In commercials that put celebrities front and center, consumers may remember the celebrity, but that rarely translates into an understanding of the product. Many companies face this exact problem. Zespri created the Kiwi Brothers in order to return the center of its commercials to the brand itself. Whether entering their 10th year can be turned into a lasting strength depends on whether a company can resist tailoring its characters to passing trends and instead narrow them down to a modest design that communicates the substance of the product.

Ae! group x Puccho — Conveying an Honest “We Want You to Buy Both” Through Continued Casting

UHA Mikakuto announced that it would broadcast two television commercials for its soft candy “Puccho” nationwide starting September 2. The commercials featured the idol group “Ae! group.” They were unveiled ahead of broadcast on the brand website at 10:00 a.m. on August 28. The group’s casting had continued since September 2024, making this another consecutive appearance. In the “God of Puccho” installment, the God of Puccho descends before a girl who cannot decide between the stick type and the bag type. The god delivers a divine message: “Both~. When in doubt~, both~.” Dentsu Creative Director Taizo Hirose, who worked on the commercial, explained that rather than asking “Which one are you?”, the aim was that it would feel more refreshing not to lie and instead state the honest truth: “We want you to buy both” (AdverTimes. (in Japanese)).

The Oshi Lab’s Note: The decisive choice to declare “both” rather than asking “which one are you” works well here. While commercials that stir up a binary choice easily generate buzz through rivalry, they carry the risk of leaving behind the fans of whichever side was not chosen. Precisely because this is a group with whom the brand has built an ongoing relationship through continuous casting, the campaign could step directly into a design that honestly aims for sales of both formats without stoking division.

Mister Donut x Mio Imada — Staging an “Oshi Battle” Between Imo-Do and Kuri-Do in a Commercial

Mister Donut, operated by Duskin, launched its autumn campaign “Autumn Imo-Kuri Oshi-Do Battle” (Autumn Sweet Potato and Chestnut Favorite Doughnut Battle) on August 27. Alongside the release of five new products, the brand aired a commercial titled “Which Do You Oshi?” starring actor Mio Imada. The commercial depicts an exchange between Imada, who is on the side of the sweet potato doughnut “Imo-Do,” and her friend, who is on the side of the chestnut doughnut “Kuri-Do.” It concludes with the line, “Imo-Do, Kuri-Do, which do you oshi?” The product lineup consists of three varieties of Imo-Do (containing 1.3% sweet potato powder) and two varieties of Kuri-Do (containing 0.1% chestnut paste). On X, a hashtag posting campaign was also held using #私はいもド推し (“I push Imo-Do”), #私はくりド推し (“I push Kuri-Do”), and #私は箱推し (“I push the whole box / all of them”). The company announced that 500 winners selected by lottery would receive gift tickets worth 500 yen (AdverTimes. (in Japanese)).

The Oshi Lab’s Note: Bringing the words “oshi” (one’s favorite to support) and “Which do you oshi?” directly into the commercial copy catches the eye. While playfully stirring up an either-or choice, the commercial closes with the communication concept “Let’s meet up at Misdo,” turning the rivalry into an occasion to visit the shop. Incorporating a fan-style “oshi battle” into the narrative of choosing a product can be seen as a highly versatile design for encouraging support-driven consumption.

Lodging and Dining Venues Turned Anime Worlds into Sales Floors

Relo Hotels & Resorts x Demon Slayer: Kimetsu no Yaiba — 11 Properties Nationwide Become Inns for the Demon Slayer Corps

It was announced that a collaborative project between the anime Demon Slayer: Kimetsu no Yaiba and Relo Hotels & Resorts would begin on September 19. Across 11 properties nationwide, Relo Hotels & Resorts prepared a “Demon Slayer: Kimetsu no Yaiba Collaboration Stay Plan” allowing guests to stay in guest rooms outfitted with original decorations. The participating properties included locations in the Hakone and Atami areas. Overnight guests could enjoy AR voice recordings of Tanjiro Kamado and Zenitsu Agatsuma as well as interior decorations inside the buildings. Four types of merchandise exclusive to overnight guests, such as acrylic stands featuring newly drawn illustrations, were also sold. The stay period ran from September 19 through check-in on December 18, with reservations accepted from August 18 to December 18 (Cho! Animedia (in Japanese)).

The Oshi Lab’s Note: The wide scale of 11 properties nationwide is the defining feature here. A limited project held at only a single venue misses out on fans who live far away, but placing the same project across multiple regions allows fans to take part regardless of where they live. For lodging operators, this is a design that uses the relatively low-cost investment of room decorations and novelty goods to multiply fan pilgrimage sites (“sacred spots”) across the country.

Hotel New Otani x Detective Conan — Immersing Guests in “Conan World” Through Decor and Background Music

Hotel New Otani (Tokyo) held a collaborative buffet titled “SUPER SWEETS BUFFET” with Detective Conan (Case Closed) at its tea and cocktail venue “Garden Lounge.” The event ran through September 30. It offered dishes and drinks inspired by Conan Edogawa, Toru Amuro, Shuichi Akai, and others, while matching the interior decorations and background music to the series. The hotel also announced that music from the anime would be performed live on the piano four times a day. Pricing for adults was 9,000 yen on weekdays and 10,500 yen on weekends and holidays (tax and service charge included). Exclusive takeout sweets boxes as well as chocolates and cookies were also sold (Anime! Anime! (in Japanese)).

The Oshi Lab’s Note: What stands out is how the venue lined up decorations, background music, and live performances in addition to the food so that visitors could experience the world of the series through all five senses. By layering the added value of “immersion” onto the practical experience of a buffet, the hotel makes a price point in the 9,000-yen range work. If a restaurant wants to raise average customer spend through an IP collaboration, this approach of including the entire physical space—not just the food—in the design offers a useful reference.

Riviera Zushi Marina x Moomin — Turning a Seaside Resort into a Story with an Autumn-Only Vacation

It was announced that a collaborative project titled “Moomin RIVIERA VACANCES” would be held at the Shonan luxury resort “Riviera Zushi Marina.” Organized to commemorate the 80th anniversary of the publication of the first Moomin novel, the autumn-limited event was scheduled from September 12 to November 30. The project draws a parallel to the story in which the Moomin family enjoys a vacation at a resort of the exact same name, “Riviera.” At both the “Malibu Hotel” and “Space Key Point” properties, a “Moomin Special Room” limited to one room per day was prepared. In addition to serving collaborative menus at two restaurants, the resort announced limited-time sales of original merchandise and a towel art exhibition (Anime! Anime! (in Japanese)).

The Oshi Lab’s Note: By limiting the offer to one room per day, the resort incorporates an IP without undermining its luxury resort brand. Because a scene from the original work is overlaid directly onto the location of the resort itself, the collaboration avoids looking tacked on. Finding a point of contact where an existing facility name or story setting overlaps with a company’s own location and worldview is what separates success from failure in this type of project.

Food and Beverage Brands Brightened Store Shelves with Characters

Taisho Pharmaceutical’s “Lipovitan” x Nijisanji — Occupying Drugstore Shelves with Three Members in Cheering Squad Outfits

Taisho Pharmaceutical held a Lipovitan collaborative campaign titled “Lipo-Niji Cheering Festival” from September 1 to October 31. The collaboration partners were Akina Saegusa, Minato Fuwa, and Haru Kaida, who belong to the VTuber group “Nijisanji.” The three appeared in traditional Japanese cheering squad (oendan) outfits, and the campaign ran on two tracks: in-store giveaways and a lottery. In stores, shoppers could receive items such as tin badges by purchasing eligible products, while in the lottery, shoppers could apply using purchase receipts for a chance to win tote bags or blankets. A commemorative livestream was also scheduled for September 3. Life-size cutouts featuring handwritten messages were placed at select participating drugstores (Anime! Anime! (in Japanese)).

The Oshi Lab’s Note: Around 150 talents belong to Nijisanji, yet this campaign narrowed the cast down to three members and presented them under a unified cheering squad concept. The more a campaign narrows down the number of participants, the stronger the appeal becomes to each talent’s respective fanbase, and aligning the concept allows the worldview to come across even within the limited space of a drugstore shelf. In collaborations with VTubers, how a brand narrows down the number of talents cast and the overarching concept directly determines cost-effectiveness.

Nestle Japan’s “Nescafe Fuwa Latte” x Chiikawa — Commercializing “A Moment to Catch Your Breath” in a First Collaboration

Nestle Japan collaborated for the first time with Chiikawa, created by illustrator Nagano, for its “Nescafe Fuwa Latte” series. The company announced that it would release the “Nescafe Fuwa Latte Chiikawa Assorted Pack (15 Sticks)” in limited quantities starting September 1. The suggested retail price is 494 yen (tax included). By taking a photo of a purchase receipt and applying, everyone who bought one pack received an original digital wallpaper, while 3,333 winners selected by lottery from those who bought three or more packs received an original red mug. Chiikawa won the Grand Prix for the third time at the “Character Brand-License Award 2025” (Japan Character Awards 2025) in July, and its followers on X (formerly Twitter) had surpassed 4.22 million (Anime! Anime! (in Japanese)).

The Oshi Lab’s Note: Building a digital wallpaper that “everyone gets with a single item”—rather than a lottery-only prize—into an everyday product priced at 494 yen is a solid, pragmatic choice. For products sold in convenience stores and supermarkets, relying solely on a lottery that most buyers will not win makes it harder to lower the hurdle to purchase. Preparing a guaranteed bonus makes it much easier for a collaboration’s appeal to translate into everyday purchases.

VTuber Track Records Began Lining Up as Corporate Benchmarks

Hoshimachi Suisei — Selected for Forbes JAPAN “30 UNDER 30” and Graces the Cover of a Business Magazine

Hololive VTuber Hoshimachi Suisei was selected for “30 UNDER 30 2025,” a feature by the global business magazine Forbes JAPAN. As a honoree in the “ENTERTAINMENT & SPORTS” category, she also graced the cover of the October 2025 issue. “30 UNDER 30” is an award that selects 30 individuals under the age of 30 who have the potential to change the world. Launched by the US edition of Forbes in 2011, it has been held in Japan since 2018. To date, a total of 330 people—including athletes Shohei Ohtani and Naoya Inoue—have been selected. For a VTuber, her selection follows that of KAF in 2022 (Mogura VR (in Japanese)).

The Oshi Lab’s Note: What matters here is that a VTuber was evaluated through a business magazine award rather than an anime magazine poll or a streaming platform ranking. The axis of evaluation was business growth potential rather than entertainment popularity metrics. This indicates that the VTuber business format itself is beginning to be viewed by companies as a candidate for investment and strategic partnership.

Sony Interactive Entertainment (SIE) announced that it had sold its equity stake in the fighting game festival “EVO” to NODWIN Gaming. Since 2021, SIE had jointly acquired EVO’s assets and operated the event directly through a joint venture with RTS. In this announcement, SIE stated that it was relinquishing that ownership stake. However, it clarified that it would continue to be involved as a global sponsor through 2028. The company also stated that it would continue its community initiatives through programs such as PlayStation Tournaments. The buyer, NODWIN Gaming, is an esports company backed by investment from the Sony Group (Inside (in Japanese)).

The Oshi Lab’s Note: The decision to step back from direct operations while remaining as a sponsor is instructive. By entrusting the labor-intensive business of running a tournament to a specialized company, SIE retains only brand exposure and its point of contact with the community. Companies tend to think of their involvement in fan events as a binary choice between “operating it in-house” and “withdrawing completely.” This case demonstrates that between those two extremes lies the option of “continuing support through sponsorship.”

VSPO! — Appointed Official Cheering Ambassador for Capcom’s Official Tournament “SFL: Pro-JP 2025”

Brave group, which operates the VTuber group “VSPO!,” announced that the group had been appointed official cheering ambassador for “Street Fighter League: Pro-JP 2025.” The league is an official team league tournament for the competitive fighting game Street Fighter, organized by Capcom. Centered on three members—Ren Kisaragi, Hanabi Choya, and Moka Amayui—the group announced plans to conduct cheering streams (watch-alongs), interviews with competing players, and introductory content about the tournament. Members of the group had been involved with the fighting game community even before the tournament, holding their own independent event, “VSPO! SHOWDOWN powered by RAGE,” in March 2025. The opening matches of the league were announced for August 29 and September 2 (GameBusiness.jp (in Japanese)).

The Oshi Lab’s Note: The sequence of building a track record by hosting their own event first and then being appointed ambassador is crucial. From a corporate perspective as well, casting a group that has been continuously active within the community makes it much easier to earn fans’ acceptance than bringing someone in for a one-off advertising appearance.

Apparel and Technology Companies Joined the Creator Economy

Nijisanji’s “Ars Almal” x ZOZOTOWN — Made-to-Order Sales of a New Outfit as Real Apparel

ZOZOTOWN announced limited-edition collaboration items with Ars Almal, a talent belonging to the VTuber group “Nijisanji.” The motif was the outfit unveiled during her new 3D outfit reveal stream on August 25. The lineup spanned seven item types in total, including T-shirts (7,150 yen) and hoodies (9,350 yen) featuring newly drawn illustrations by an illustrator, as well as a tote bag supervised by Ars Almal herself (7,700 yen). The made-to-order reservation period ran until 11:59 a.m. on September 16, with shipping scheduled for January 2026 (Inside (in Japanese)).

The Oshi Lab’s Note: Pricing for individual apparel items in the 7,150-yen to 9,350-yen range is closer to the standard merchandise of an apparel brand than to mass-produced character goods. Major e-commerce apparel platform ZOZOTOWN is not treating a VTuber as a fleeting collaboration partner; it is selling these items within the exact same made-to-order production framework used for regular brand lines. This shows a serious move to integrate creator IP directly into the company’s own product development pipeline.

Casio Computer — Enters the Creator Economy Sector and Officially Releases Two New Services for Streamers

On August 27, Casio Computer officially released “Streamer Times,” a TV-guide-style service where livestream schedules can be registered and browsed, and “Waves Place,” which uses AI to generate sound effects from Japanese text input. With “Streamer Times,” when streamers registered their broadcast schedules, listeners could check them all in one place. It also included a recommendation feature that suggested streamers based on user preferences. Basic functions were free, while a paid feature for exporting schedule tables for social media posts cost 550 yen per month (tax included) (Inside (in Japanese)).

The Oshi Lab’s Note: A watchmaker entering the creator economy makes logical sense precisely because livestreaming is a business that deals with “time.” Some markets may appear at first glance to have nothing to do with a company’s existing technology or brand assets. Even in those markets, considering which element of the core business—in this case, time management—can form a connection reveals a viable angle for new market entry.

Sanrio — Makes XR Company Gugenka a Subsidiary, Accelerating Its “IP Platformer” Strategy

On July 28, Sanrio made the XR and metaverse development company Gugenka a subsidiary. Sanrio Managing Executive Officer Kosuke Hamasaki explained that the aim was to increase the monetization outlets for its IP. As part of the vision, he cited deploying Sanrio characters onto “HoloModels,” the 3D digital figure service owned by Gugenka. He also spoke of plans to leverage Sanrio’s sales resources for third-party IPs to attract other companies’ IPs to Gugenka. Approximately 70% of visitors to the “Sanrio Virtual Festival” were said to have come from North America, and both companies positioned digital expansion directly as global expansion (Mogura VR (in Japanese)).

The Oshi Lab’s Note: The aim of making Gugenka a subsidiary is summed up in the phrase “increasing the monetization outlets for IP.” Sanrio already has physical touchpoints such as merchandise and theme parks. The idea here is to add a low-replication-cost touchpoint—digital figures—within its own corporate group, thereby multiplying the revenue pathways generated from a single character. For companies that hold IP, deciding to bring an XR company in-house rather than treating it solely as an external partner is likely to become one of the strategic options going forward.

DIAGRAMKey Figures from Pixiv's Survey of Over 4,000 VRChat Users

90%+: Play VRChat at least once a week
65.5%: Use VRChat almost every day
~50%: New users who started within the past year, and roughly half are interested in offline events
25%: Have already attended an offline event or fan convention sparked by VRChat interactions

Source: Pixiv VRChat User Survey (April 2025, reported by Mogura VR)

Fan Surveys and New Venues Pointed to the Next Move

Pixiv’s “Survey of 4,000 VRChat Users” — New Users’ Anxieties and Expectations for Real-World Events Come into Focus

Pixiv published the results of a questionnaire conducted in April 2025 targeting more than 4,000 VRChat users. Over 90% of respondents played at least once a week, and 65.5% used the platform almost every day. Roughly half were new users who had started within the past year. New users felt anxious about speaking to other users and joining communities. The survey also found that introductions from friends and acquaintances often served as the catalyst for starting. About half of respondents were interested in attending real-world events or fan conventions (sokubaikai) sparked by interactions in VRChat, and one-quarter had already experienced doing so (Mogura VR (in Japanese)).

The Oshi Lab’s Note: The pathway of “starting through a friend’s introduction and eventually wanting to meet in real life” has now been backed up by hard numbers. For companies considering fan acquisition initiatives in virtual spaces, both designing onboarding pathways that ease new users’ anxieties (difficulty striking up conversations, high equipment costs, and specialized jargon) and preparing connection points to offline events are key factors determining retention rates.

Kyoto Animation’s “The World of KyoAni Exhibition” — Delivering Behind-the-Scenes Stories from the Production Staff at a Ticketed Event

Kyoto Animation’s 7th fan appreciation event, “We Are Here Now!! — The World of KyoAni Exhibition —,” was held on October 25 and 26 at the Kyoto International Exhibition Hall “Miyako Messe.” The venue exhibited more than 1,000 items, including key animation drawings (genga), background art, and CG materials from past works such as Free!, Miss Kobayashi’s Dragon Maid, and Sound! Euphonium. On both days, the stage hosted “Creators’ Secret Talks,” featuring behind-the-scenes production stories from creators across different titles. All-day stage viewing tickets were priced at 15,000 yen for S seats, 13,000 yen for A seats, and 9,800 yen for B seats (all tax included). Applications for the second lottery round closed on August 24 (Cho! Animedia (in Japanese)).

The Oshi Lab’s Note: Even though the event is billed as “fan appreciation,” a price point of 15,000 yen for an S seat holds up. Fan appreciation events tend to be assumed to be free or low-priced. Kyoto Animation paired primary materials that cannot be seen anywhere else—such as original key animation drawings and production documents—with a venue where the creators themselves speak in person. That combination gives fans a compelling reason to pay for admission. How far a studio or company can open up its own production assets determines the ticket price it can command.

“Pokémon Sleep” x “Sauna Ikitai” — Exploring the Connection Between Sleep and Sauna Habits Through a Field Study

The Pokémon sleep-tracking game app Pokémon Sleep and the sauna portal site “Sauna Ikitai” (“I Want to Go to a Sauna”) conducted a joint verification study titled “Sa to Su” from August 19 to September 18. The initiative explored the relationship between sauna use and sleep. Through questionnaires and the collection of sleep measurement data, the project examined the relationship between sauna use and sleep quality. Shunsuke Hida, a manager in the Pokémon Sleep Promotion Office, stated that if an effect is demonstrated, he hopes to connect it to building habits that combine bathing and sleep management. Pokémon Sleep had marked the second anniversary of its release, boasting more than 2.5 million monthly active users and accumulating data from over 1 billion sleep sessions in total (AdverTimes. (in Japanese)).

The Oshi Lab’s Note: The reason a game app is teaming up with a cross-industry partner like a sauna search service is that both place “habit formation” at the center of their business. Pokémon Sleep gains a point of contact with a new user demographic through saunas, while for Sauna Ikitai, the project provides motivation for users to log their sauna activities (sa-katsu). Rather than a conventional IP collaboration, this structure is closer to a data partnership between companies that hold lifestyle habit data.

Re:AcT — Turns 13 of Its 21 Talents into Digital Figures, Holding Advance Sales at a Shibuya Pop-Up

Talents belonging to the VTuber agency “Re:AcT” were slated to be turned into “HoloModels” digital figures. Advance sales took place from August 20 to September 10 at the “Re:AcT POP UP SHOP” in Shibuya. Figures for 13 talents, including Leona Shishigami and Kyo Hanabasami, were sold in physical card format at a price of 3,850 yen each (tax included). By entering the serial code on the back of the card into Gugenka’s online store “X Market,” buyers could redeem the actual digital figure. The figures could be viewed on smartphones or Meta Quest headsets. “Re:AcT” had 21 affiliated VTubers, and their combined YouTube subscriber count had reached 1.13 million (Mogura VR (in Japanese)).

The Oshi Lab’s Note: The two-step pathway of buying a physical card on-site and later redeeming it online for digital data is a distinctive mechanism. While creating a reason for fans to visit the pop-up shop in person, the actual product is digital data, meaning the agency bears neither inventory risk nor shipping costs for bulky goods. Small and mid-sized agencies in particular need this kind of ingenuity—combining physical and non-physical products—to generate revenue from a limited roster of IP.

This Week’s Takeaways

This was the week when companies began speaking about their relationship with IP not as an “advertising expense,” but as a “business strategy.”

Sanrio made Gugenka a subsidiary, deciding to expand the monetization pathways for its IP directly. Casio Computer, despite being a watch manufacturer, launched new services in the creator economy sector. Hoshimachi Suisei was recognized through an award from a business magazine rather than an entertainment publication. Companies were in the process of repositioning IP collaborations from one-off campaigns into an integral part of their revenue structures.

At the same time, initiatives that directly drive purchasing behavior on store floors—such as Mister Donut’s “oshi battle” commercial and the Lipovitan x Nijisanji campaign—remained alive and well. IP utilization as a corporate strategy and IP utilization as a storefront promotional tactic stood side by side in the same week. This shows that the market is beginning to function both as a target for business investment and as a practical tool for everyday sales promotion.

Is your company’s involvement with IP a “strategy” or a “sales promotion”? Alongside our guides to Design Principles for Oshikatsu Marketing and Fan Marketing Basics, take a moment to organize what this week’s developments mean for your business.

Weekly Oshikatsu News brings you a weekly roundup of oshikatsu and business every week. You can browse past issues in the Oshikatsu x News category.