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S1667253 - Mid-term Annotated Bibliography

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S1667253 - Mid-term Annotated Bibliography

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Otaku Market in Japan Key Research Findings 2014

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Otaku Market in Japan Key Research Findings 2011

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The common sense that makes the otaku rules for consuming popular culture in contemporary Japan

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Etymology of Otaku and the Otaku Culture's Evolution (Chinese)

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Etymology of Otaku and the Otaku Culture's Evolution (Chinese)

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Etymology of Otaku and the Otaku Culture's Evolution

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Toivonen, T. and Imoto, Y., 2013.

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Transcending labels and panics- the logic of Japanese youth problems

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Otaku Market in Japan Key Research Findings 2016

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Otaku Market in Japan Key Research Findings 2012

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Current Japanese youth subculture styles

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Current Japanese youth subculture styles

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Park, J., 2011.

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An investigation of the significance of current Japanese youth subculture styles

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Kaichiro, M. and Washburn, D., 2012

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The Otaku Group from a Business Perspective - Revaluation of Enthusiastic Consumers

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A moral panic is a widespread fear, most often an irrational one, that someone or something is a threat to the values, safety, and interests of a community or society at large. Typically, a moral panic is perpetuated by news media, fueled by politicians, and often results in the passage of new laws or policies that target the source of the panic. In this way, moral panic can foster increased social control.

Moral panics are often centered on people who are marginalized in society due to their race or ethnicity, class, sexuality, nationality, or religion. As such, a moral panic often draws on known stereotypes and reinforces them. It can also exacerbate the real and perceived differences and divisions between groups of people.

The phrase "moral panic" and the development of the sociological concept is credited to late South African sociologist Stanley Cohen (1942-2013). Cohen introduced the social theory of moral panic in his 1972 book titled Folk Devils and Moral Panics. In the book, Cohen details his study of the public reaction in England to fights between the "mod" and "rocker" youth subcultures of the 1960s and '70s. Through his study of these youth, and the media and public reaction to them, Cohen developed a theory of moral panic that outlines five stages of the process.

1. Something or someone is perceived and defined as a threat to social norms and the interests of the community or society at large.

2. News media and members of the community/society then depict the threat in simplistic symbolic ways that quickly become recognizable to the greater public.

3. Widespread public concern is aroused by the way news media portrays the symbolic representation of the threat.

4. Authorities and policy makers respond to the threat, be it real or perceived, with new laws or policies.

5. The moral panic and actions by those in power that follows it results in social change within the community.

Cohen suggested that there are five key sets of actors involved in the process of moral panic. They are:

1. The threat that incites the moral panic, which Cohen referred to as "folk devils";

2. Enforcers of rules or laws, like institutional authority figures, police, or armed forces;

3. The news media, which breaks the news about the threat and continues to report on it, thereby setting the agenda for how it is discussed, and attaching visual symbolic images to it;

4. Politicians, who respond to the threat, and sometimes fan the flames of the panic;

5. And the public, who develop focused concern about the threat and demand action in response to it.

Many sociologists have observed that those in power ultimately benefit from moral panics, since they lead to increased control of the population, and the reinforcement of the authority of those in charge. Others have commented that moral panics offer a mutually beneficial relationship between news media and the state. For the media, reporting on threats that become moral panics increases viewership and makes money for news organizations (See Marshall McLuhan, Understanding Media). For the state, the creation of a moral panic can give it cause to enact legislation and laws that would seem illegitimate without the perceived threat at the center of the moral panic (See Stuart Hall, Policing the Crisis).

There have been many moral panics throughout history, some quite notable. The Salem witch trials that took place throughout colonial Massachusetts in 1692 are an oft-mentioned example of this phenomenon. Accusations of witchcraft were directed first at women who were social outcasts of the society after a couple of local girls were afflicted with unexplained fits. After the initial arrests, accusations spread to other women in the community who expressed doubt about the accusations or who behaved in ways that did not seem supportive of guilt. This particular moral panic served to reinforce and strengthen the social authority of local religious leaders, since witchcraft was perceived as a violation of and threat to Christian values, laws, and order.

More recently, some sociologists frame the heightened " War on Drugs" of the 1980s and 90s as an outcome of moral panic. News media attention to drug use, particularly use of crack cocaine among the urban Black underclass, focused public attention on drug use and its relationship to delinquency and crime. The public concern generated through news reporting on this topic, including a feature in which then First Lady Nancy Reagan participated in a raid on a crack house in South Central Los Angeles, shored up voter support for drug laws that penalized the poor and working classes while having almost no regard for the middle and upper classes. Many sociologists credit the policies, laws, and sentencing guidelines connected to the "War on Drugs" with increased policing of poor, urban neighborhoods and rates of incarceration that skyrocketed up through the present.

Other notable moral panics that have drawn the attention of sociologists include public attention to "Welfare Queens," the notion that there is a "gay agenda" that threatens American values and way of life, and the Islamophobia, surveillance laws, and racial and religious profiling that followed the terrorist attacks of September 11, 2001.

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Understanding Moral Panics and How They Threaten Freedom

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A moral panic is a widespread fear, most often an irrational one, that someone or something is a threat to the values, safety, and interests of a community or society at large. Typically, a moral panic is perpetuated by news media, fueled by politicians, and often results in the passage of new laws or policies that target the source of the panic.

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Karl Mannheim

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Essential reading from Session 5 - Lifestyle, culture & Subculture

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Essential reading from Session 5 - Lifestyle, culture & Subculture

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Essential reading from Session 3 - Generation

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Essential reading from Session 3 - Generation

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Akihabara Geeks - Full Documentary (2005)

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Akihabara is a neighborhood of Tokyo Japan known as "Electric Town" for its rows of one-meter wide discount computer and electronics stores. In more recent years Akihabara has evolved into a full-blown Mecca for computer enthusiasts anime and manga fans doll or "figure" collectors video gamers and "Otaku" of all kinds.

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Sone, Y., 2014.

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Canted Desire - Otaku Performance in Japanese Popular Culture

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Niu et al., 2012

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An Exploratory Study of the Otaku Adolescent Consumer

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NB: currently on loan in the Main Library

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In Japan, obsessive adult fans and collectors of manga and anime are known as otaku. When the underground otaku subculture first emerged in the 1970s, participants were looked down on by mainstream Japanese society as strange, antisocial loners. Today otaku have had a huge impact on popular cultu...

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While neither long, in-depth, nor politically correct, the following 1983 article by essayist Nakamori Akio represents a watershed moment in subcultural journalism: the official debut of the word "" as the definition of a then-new social demographic. Prior to its introduction, this anime- and manga-obsessed group was known under a variety of names, including mania ("maniacs"), nekura-zoku (loosely, "the gloomy tribe"), and even byōki (a play on the word "sick"), but none captured the diverse crowd's distinctive esprit de corps - or lack thereof - symbolized by the word "otaku."

When this first installment of " Otaku no Kenkyu" (『おたく』の研究,　"Otaku Research") first appeared in the pages of an obscure weekly soft-core porno comic magazine called Manga Burikko, Nakamori probably had little idea that the word would eventually take a life of its own. It's important to note that he didn't coin the actual word, which is nothing more than a politer-than-polite way of saying "you" in Japanese. Perhaps because of this, "otaku" wouldn't gain widespread notoriety until 1989, when the mass media seized on the word to describe notorious serial killer Miyazaki Tsutomu. The resulting societal backlash sparked an (eventually) successful subcultural movement to "reclaim" the word, including the bestselling 1989 book Otaku no Hon ("The Otaku Book"), edited by Tomohiro Machiyama, and the 1991 mockumentary Otaku no Video ("The Otaku Video"), directed by Toshio Okada.

From humble roots, "otaku" flowered to become the de facto term for individuals who pursue their hobbies with a single-minded passion bordering on obsession. As part of a series, here is our original translation of Nakamori's first column in "Otaku no Kenkyu" - which we believe has never before appeared in English.

Otaku Research #1
"This City is Full of Otaku"
by Nakamori Akio
(Translated with permission by Matt Alt)

Ever heard of " Comiket" (also abbreviated as "Comike")? I only went for the first time myself last year, at the ripe old age of 23, and let me tell you: it was a trip. It's like a festival for manga freaks. More to the point, it's a place to sell amateur comic books and fanzines. As to what was so surprising, it wasn't so much that over ten-thousand young men and women gathered from all over Tokyo, but rather their eccentricities. How can I put this? They're like those kids - every class has one - who never got enough exercise, who spent recess holed up in the classroom, lurking in the shadows obsessing over a shogi board or whatever. That's them. Rumpled long hair parted on one side, or a classic kiddie bowl-cut look. Smartly clad in shirts and slacks their mothers bought off the "all ¥980/1980" rack at Ito Yokado or Seiyu [discount retailers], their feet shod in knock-offs of the "R"-branded Regal sneakers that were popular several seasons ago, their shoulder bags bulging and sagging - you know them. The boys were all either skin and bones as if borderline malnourished, or squealing piggies with faces so chubby the arms of their silver-plated eyeglasses were in danger of disappearing into the sides of their brow; all of the girls sported bobbed hair and most were overweight, their tubby, tree-like legs stuffed into long white socks. Now these unassuming classroom corner-dwellers with their perpetually downcast expressions have come out of the woodwork and swelled their ranks into a really rather surprising TEN THOUSAND PEOPLE. And just because they're here, they're channeling all of their normal gloominess into freaking out. Some are dressed in costumes of anime characters, others look like a shady character from a Azuma Hideo comic, still others constantly try foisting off their "" fanzines on unsuspecting girls, the shit-eating grins never leaving their faces all the while. Others just run around aimlessly... Man, it's enough to make your head explode. The vast majority are in their teens, mostly junior and senior high school students.

Come to think of it, manga freaks and Comiket are only the start of it. There's those guys who camp out before the opening day of anime movies, dudes who nearly get themselves run over trying to capture photos of the " blue train" as it comes down the tracks, guys with every back issue of SF Magazine and the Hayakawa science-fiction novels lining their bookshelves, science fair types with coke-bottle glasses who station themselves at the local computer shop, guys who get up early to secure space in line for idol singer and actress autograph sessions, boys who spent their childhoods going to the best cram-schools but turn into timid fish-eyed losers, guys who won't shut up when the topic of audio gear comes around. These people are normally called "maniacs" or "fanatics," or at best " nekura-zoku " ("the gloomy tribe"), but none of these terms really hit the mark. For whatever reason, it seems like a single umbrella term that covers these people, or the general phenomenon, hasn't been formally established. So we've decided to designate them as the "otaku," and that's what we'll be calling them from now on.

The question of why we're calling them "otaku," and the debate over exactly what "otaku" means, we'd like to explore in leisurely detail over subsequent installments. But in the meantime, take a good look around yourself, and we think you'll see them - that's right, there they are - the o...ta...ku....

So, what kind of otaku are you?

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" What Kind of Otaku Are You?:: Néojaponisme " Blog Archive

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While neither long, in-depth, nor politically correct, the following 1983 article by essayist Nakamori Akio represents a watershed moment in subcultural journalism: the official debut of the word "" as the definition of a then-new social demographic.

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The Akihabara neighborhood of Tokyo, a popular gathering site for otaku

Otaku is a Japanese word that describes people with consuming interests, particularly in anime, manga, video games, or computers. Its contemporary use originated with a 1983 essay by Akio Nakamori in Manga Burikko.

Otaku subculture is a central theme of various anime, manga, documentaries, and academic research. The subculture began in the 1980s as changing social mentalities and the nurturing of otaku traits by Japanese schools combined with the resignation of such individuals to what was then seen as inevitably becoming social outcasts. The subculture's birth coincided with the anime boom after the release of works such as Mobile Suit Gundam, before it branched into Comic Market. The otaku culture could also be seen as a refuge from the nanpa culture. In 1980, around the Kabuki-chō district of Shinjuku in Tokyo, there was a boom of nyū fūzoku, or new sex services employing female college or vocational school students. The burusera boom and the compensated dating boom in the 1990s were extensions of this. In this sense, the period from 1980 to the mid-1990s was the "age of sexual love". The higher the sexual love boom rose, the more people were disappointed in sexual love for not giving them that comprehensive acceptance. The advent of information technology and databases, first and foremost, enriched the means for the homeostasis of the self, that is, self-defense; and, secondly, it thereby rapidly weakened the sense that "reality" (or embodied communication) is more fruitful than "fiction" (or virtual reality). The otaku subculture continued to grow with the expansion of the Internet and media, as more anime, video games, shows, and comics were created. The definition of otaku subsequently became more complex, and numerous classifications of otaku emerged.

Otaku may be used as a pejorative, with its negativity stemming from a stereotypical view of otaku as social outcasts and the media's reporting on Tsutomu Miyazaki, "The Otaku Murderer", in 1989. Otaku discrimination was particularly intense between 1989 (when the serial murder suspect was arrested) and 1996 (when the compensated dating boom was at its peak). According to studies published in 2013, the term has become less negative, and an increasing number of people now identify themselves as otaku, both in Japan and elsewhere. Out of 137,734 teens surveyed in Japan in 2013, 42.2% self-identified as a type of otaku. According to a nationwide U.S. survey conducted by Dentsu in July 2022, 34％ of American Gen-Zs (around 15 million people), acknowledged themselves as anime otaku. In 2005, the Nomura Research Institute divided otaku into twelve groups and estimated the size and market impact of each of these groups. Other institutions have split it further or focused on a single otaku interest. These publications classify distinct groups including anime, manga, camera, automobile, J-idol, and electronics otaku. In 2005, the economic impact of otaku was estimated to be as high as ¥2 trillion (US$18 billion).

Otaku is derived from a Japanese term for another person's house or family ( お宅, otaku). The word can be used metaphorically as a part of honorific speech in Japanese, as a second-person pronoun. In this usage, its literal translation is "you". It is associated with some dialects of Western Japanese and with housewives, and is less direct and more distant than intimate pronouns, such as anata, and masculine pronouns, such as kimi and omae.

The origin of the pronoun's use among 1980s manga and anime fans is unclear. Science fiction fans were using otaku to address owners of books by the late 1960s (in a sense of "Do[es] [your home] own this book?"). Social critic Eiji Ōtsuka posits that otaku was used because it allowed people meeting for the first time, such as at a convention, to interact from a comfortable distance. One theory posits that otaku was popularized as a pronoun by science fiction author Motoko Arai in a 1981 essay in Variety magazine, and another posits that it was popularized by fans of anime studio Gainax, some of whose founders came from Tottori Prefecture in western Japan (where otaku is commonly used). The pronoun was also used in the popular anime , first aired in 1982, by the characters Hikaru Ichijyo and Lynn Minmay, who address each other as otaku until they get to know each other better.

The modern slang form, which is distinguished from the older usage by being written in hiragana (おたく), katakana (オタク or, less frequently, ヲタク) or rarely in rōmaji, first appeared in public discourse in the 1980s, through the work of humorist and essayist Akio Nakamori. His 1983 series ' Otaku' Research, printed in the magazine Manga Burikko, applied the term as pejorative for "unpleasant" fans, attacking their supposed poor fashion sense and physical appearance in particular. Nakamori was particularly critical of "manga maniacs" drawn to cute girl characters, and explained his label otaku as the term of address used between junior high school kids at manga and anime conventions.

In 1989, the case of Tsutomu Miyazaki, "The Otaku Murderer", brought the fandom, very negatively, to national attention. Miyazaki, who randomly chose and murdered four girls, had a collection of 5,763 video tapes, some containing anime and slasher films that were found interspersed with videos and pictures of his victims. Later that year, the contemporary knowledge magazine Bessatsu Takarajima dedicated its 104th issue to the topic of otaku. It was called Otaku no Hon and delved into the subculture of otaku with 19 articles by otaku insiders, among them Akio Nakamori. This publication has been claimed by scholar Rudyard Pesimo to have popularized the term.

An otaku room after the 3.11 Earthquake

In modern Japanese slang, the term otaku is mostly equivalent to " geek" or " nerd" (both in the broad sense; a technological geek would be a gijutsu otaku and an academic nerd would be a bunkakei otaku or gariben), but in a more derogatory manner than used in the West. It is also applied to any fan of any particular theme, topic, hobby or form of entertainment. "When these people are referred to as otaku, they are judged for their behaviors - and people suddenly see an 'otaku' as a person unable to relate to reality." The term thus has more of a negative association in Japanese society.

The word entered English as a loanword from the Japanese language. It is typically used to refer to a fan of anime and manga, but can also refer to Japanese video games or even Japanese culture in general. The American magazine popularizes and covers these aspects. The usage of the word is a source of contention among some fans, owing to its negative connotations and stereotyping of the fandom. Widespread English exposure to the term came in 1988 with the release of , which refers to anime fans as otaku. Gunbuster was released officially in English in March 1990. The term's usage spread throughout the Usenet group rec.arts.anime with discussions about Otaku no Video's portrayal of otaku before its 1994 English release. Positive and negative aspects, including the pejorative usage, were intermixed. The term was also popularized by William Gibson's 1996 novel , which references otaku.

Subculture

Kaichirō Morikawa identifies the subculture as distinctly Japanese, a product of the school system and society. Japanese schools have a class structure which functions as a caste system, but clubs are an exception to the social hierarchy. In these clubs, a student's interests will be recognized and nurtured, catering to the interests of otaku. Secondly, the vertical structure of Japanese society identifies the value of individuals by their success. Until the late 1980s, unathletic and unattractive males focused on academics, hoping to secure a good job and marry to raise their social standing. Those unable to succeed socially focused instead on their interests, often into adulthood, with their lifestyle centering on those interests, furthering the creation of the otaku subculture.

Even prior to the coinage of the term, the stereotypical traits of the subculture were identified in a 1981 issue of Fan Rōdo (Fan road) about "culture clubs". These individuals were drawn to anime, a counter-culture, with the release of hard science fiction works such as Mobile Suit Gundam. These works allowed a congregation and development of obsessive interests that turned anime into a medium for unpopular students, catering to obsessed fans. After these fans discovered Comic Market, the term was used as a self-confirming and self-mocking collective identity.

The 1989 "Otaku Murderer" case gave the fandom a negative connotation from which it has not fully recovered. The perception of otaku was again damaged in late 2004 when Kaoru Kobayashi kidnapped, sexually assaulted, and murdered a seven-year-old first-grade student. Japanese journalist Akihiro Ōtani suspected that Kobayashi's crime was committed by a member of the figure moe zoku even before his arrest. Although Kobayashi was not an otaku, the degree of social hostility against otaku increased. Otaku were seen by law enforcement as possible suspects for sex crimes, and local governments called for stricter laws controlling the depiction of eroticism in otaku materials.

Not all attention has been negative. In his book Otaku, Hiroki Azuma observed: "Between 2001 and 2007, the otaku forms and markets quite rapidly won social recognition in Japan", citing the fact that "[i]n 2003, Hayao Miyazaki won the Academy Award for his Spirited Away; around the same time Takashi Murakami achieved recognition for otaku-like designs; in 2004, the Japanese pavilion in the 2004 International Architecture exhibition of the Venice Biennale (Biennale Architecture) featured 'otaku'. In 2005, the word moe - one of the keywords of the present volume - was chosen as one of the top ten ' buzzwords of the year'." Former Prime Minister of Japan Taro Aso has also claimed to be an otaku, using this subculture to promote Japan in foreign affairs. In 2013, a Japanese study of 137,734 people found that 42.2% self-identify as a type of otaku. This study suggests that the stigma of the word has vanished, and the term has been embraced by many. Marie Kondo told ForbesWomen in 2020: "I credit being an otaku with helping me to focus deeply, which definitely contributed to my success."

In the late 1990s, otaku was a popular subculture among Generation Xers in the US. In the early 2000s, the otaku community in the United States often consisted of suburban young people and niche online groups.

The district of Akihabara in Tokyo, where there are maid cafés featuring waitresses who dress up and act like maids or anime characters, is a notable attraction center for otaku. Akihabara also has dozens of stores specializing in anime, manga, retro video games, figurines, card games, and other collectibles. Another popular location is Otome Road in Ikebukuro, Tokyo. Students from Nagoya City University started a project to help promote hidden tourist attractions and attract more otaku to Nagoya.

A Nissan March featuring Hinagiku Katsura from the manga series Hayate the Combat Butler

There are specific terms for different types of otaku, including fujoshi, a self-mockingly pejorative Japanese term for female fans of yaoi, which focuses on homosexual male relationships. Reki-jo are female otaku who are interested in Japanese history. Some terms refer to a location, such as Akiba-kei ("Akihabara-style"), which applies to those familiar with Akihabara's culture.

Miyadai describes two big subtypes of the otaku type, a world type and a battle royale type. There is a chronological development from the world type of the late 1990s to the battle royale type of the 2000s but they also coexisted. The antagonism between the world type and the battle royale type emerged in the age in which reality and fiction are regarded as equivalent tools for self-defense. He further describes the internet society as a rhizomic structure which invalidates the distinction between "reality" and "fiction". The world type treats fiction as an equivalent of reality (real-ization of fiction), while the battle royale type treats reality as an equivalent of fiction (fictionalization of reality).

Otaku often participate in self-mocking through the production or interest in humor directed at their subculture. Anime and manga otaku are the subject of numerous self-critical works, such as Otaku no Video, which contains a live-interview mockumentary that pokes fun at the otaku subculture and includes Gainax's own staff as the interviewees. Other works depict otaku subculture less critically, such as and Comic Party. A well-known light novel, which later received a manga and anime adaptation, is Welcome to the N.H.K., which focuses on otaku subcultures and highlights other social outcasts, such as hikikomori and NEETs. Works that focus on otaku characters include , the story of an unattractive and unsociable otome gamer otaku who exhibits delusions about her social status; and No More Heroes, a video game about an otaku assassin named Travis Touchdown and his surrealistic adventures inspired by anime and manga. Media about otaku also exist outside of Japan, such as the American documentary Otaku Unite! which focuses on the American side of the otaku culture, and the Filipino novel , which tells the story of a virtual reality world where otaku can role-play and use the powers of their favorite anime characters.

Girls und Panzer cosplayers take photos in the itasha exhibition area of the doujinshi convention.

A term used in the otaku fandom is wotagei or otagei, a type of cheering performed as a group. Another term is (, literally "painful (i.e. cringeworthy) car(s)"), which describes vehicles decorated with fictional characters, especially bishōjo game or eroge characters.

Classification

Railfans taking photos of trains at an annual depot open-day event in Tokyo in August 2011

The Nomura Research Institute (NRI) has made two major studies into otaku, the first in 2004 and a revised study with a more specific definition in 2005. The 2005 study defines twelve major fields of otaku interests. Of these groups:

manga otaku were the largest group, with 350,000 individuals and an ¥83 billion market scale.

Idol otaku were the next largest group, with 280,000 individuals and ¥61 billion.

Travel otaku were third, with 250,000 individuals and ¥81 billion.

PC otaku were fourth, with 190,000 individuals and ¥36 billion.

Video game otaku were fifth, with 160,000 individuals and ¥21 billion.

Automobile otaku were sixth, with 140,000 individuals and ¥54 billion.

Anime otaku were seventh, with 110,000 individuals and ¥20 billion.

The remaining five categories include mobile device otaku, with 70,000 individuals and ¥8 billion; audio-visual equipment otaku, with 60,000 individuals and ¥12 billion; camera otaku, with 50,000 individuals and ¥18 billion; fashion otaku, with 40,000 individuals and ¥13 billion; and railway otaku, with 20,000 individuals and ¥4 billion. These values were partially released with a much higher estimation in 2004, but this definition focused on consumerism and not the "unique psychological characteristics" of otaku used in the 2005 study.

The NRI's 2005 study also put forth five archetypes of otaku:

The first is the family-oriented otaku, who has broad interests and is more mature than other otaku; their object of interest is secretive and they are "closet otaku".

The second is the serious "leaving my own mark on the world" otaku, with interests in mechanical or business personality fields.

The third type is the "media-sensitive multiple interest" otaku, whose diverse interests are shared with others.

The fourth type is the "outgoing and assertive otaku", who gain recognition by promoting their hobby.

The last is the "fan magazine-obsessed otaku", which is predominately female with a small group of males being the "moe type"; their secret hobby is focused on the production or interest in fan works.

The Hamagin Research Institute found that moe-related content was worth ¥88.8 billion ($807 million) in 2005, and one analyst estimated the market could be as much as ¥2 trillion ($18 billion). Japan-based Tokyo Otaku Mode, a place for news related to otaku, has been liked on Facebook almost 10 million times.

Other classifications of otaku interests include Vocaloid, cosplay, figures, and professional wrestling, as categorized by the Yano Research Institute, which reports and tracks market growth and trends in sectors heavily influenced by otaku consumerism. In 2012, it noted around 30% of growth in dating sim and online gaming otaku, while Vocaloid, cosplay, idols and maid services grew by 10%, confirming its 2011 predictions.

Ōkina otomodachi

Ōkina otomodachi is a Japanese phrase that literally translates to "big friend" or "adult friend". Japanese otaku use it to describe themselves as adult fans of an anime, a manga, or a TV show that is originally aimed at children. A parent who watches such a show with their children is not considered an ōkina otomodachi, nor is a parent who buys anime DVDs or manga volumes for their children; ōkina otomodachi are those who consume such content by themselves.

References

1. ^ Okamoto, Takeshi (2014). "Otaku Tourism and the Anime Pilgrimage Phenomenon in Japan". Japan Forum. 27: 12-36. doi:10.1080/09555803.2014.962565. S2CID 145267918.

2. ^ "The Numbers Speak for Themselves! Anime is Killer Content for Gen Z". Dentsu. December 4, 2023.

3. ^ Bolton, Christopher; Csicsery-Ronay Jr., Istvan; Tatsumi, Takayuki, eds. (2007). "Introduction". Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime. Minneapolis: University of Minnesota Press. p. xxii. ISBN 978-0-8166-4974-7.

4. ^ Zhen, Jiang Yu (January 2000). オタク市場の研究 (Otaku Shijou no Kenkyuu) / Targeting Otaku. 野村総合研究所 (Nomura Research Institute) / Shang and Zhou (Chinese Edition). ISBN 978-986-124-768-7.

5. ^ "Episodes three (スペース・フォールド/Supēsu Fōrudo/Space Fold) and four (リン・ミンメイ/Rin Minmei/Lynn Minmay)". 超 時空 要塞マクロス (Chō Jikū Yōsai Makurosu/Super Dimensional Fortress Macross). Season 1 (in Japanese). October 1982. MBS (Mainichi Broadcasting System).

6. ^ Galbraith, Patrick W.; Kam, Thiam Huat; Kamm, Björn-Ole, eds. (2015). Debating otaku in contemporary Japan: historical perspectives and new horizons. London: Bloomsbury. pp. 7-8. ISBN 978-1-4725-9497-6. OCLC 897946266.

7. ^ Pesimo, Rudyard C. (2007). ""Asianizing" Animation in Asia: Digital Content Identity Construction within the Animation Landscapes of Japan and Thailand". Reflections on the Human Condition: Change, Conflict and Modernity. The Nippon Foundation. p. 167.

8. ^ Yadao, Jason S. (April 17, 2005). "Enter the world of hard-core anime fans". Honolulu Star-Bulletin. pp. E8. Archived from the original on June 9, 2024.

9. Eng, Lawrence (February 28, 2012). "Chapter 4: Strategies of Engagement: Discovering, Defining, and Describing Otaku Culture in the United States". In Ito, Mizuko; Okabe, Daisuke; Tsuji, Izumi (eds.). Fandom Unbound: Otaku Culture in a Connected World. Yale University Press. pp. 85-104. ISBN 978-0-300-15864-9.

10. ^ Gibson, William (April 1, 2001). "Modern boys and mobile girls". The Observer. London. Archived from the original on July 6, 2008.

11. ^ "Marie Kondo on Sparking Joy in a Pandemic and the Life-Changing Magic of Becoming a KonMari Consultant". . August 30, 2020.

12. ^ Beran, Dale (July 30, 2019). It Came from Something Awful: How a Toxic Troll Army Accidentally Memed Donald Trump into Office (1st ed.). New York: All Points Books. p. xiv. ISBN 978-1-250-21947-3.

13. ^ Beran, Dale (July 30, 2019). It Came from Something Awful: How a Toxic Troll Army Accidentally Memed Donald Trump into Office (1st ed.). New York: All Points Books. p. x. ISBN 978-1-250-21947-3.

14. ^ Chunichi Shimbun credited (February 2, 2013). "'Cosplay' students promote Nagoya's highlights". The Japan Times. Archived from the original on July 1, 2013.

15. ^ Saitō, Tamaki (2007). "Otaku Sexuality". In Bolton, Christopher; Csicsery-Ronay Jr., Istvan; Tatsumi, Takayuki (eds.). Robot Ghosts and Wired Dreams. Translated by Bolton, Christopher. Minneapolis: University of Minnesota Press. p. 224. ISBN 978-0-8166-4974-7.

16. ^ Hannigan, Carl. "Otaku Girl (Book Review): Where Memes and Literature Mix". Voice Media Group. July 1, 2021

17. Kitabayashi, Ken (December 1, 2004). "The Otaku Group from a Business Perspective: Revaluation of Enthusiastic Consumers" (PDF). Nomura Research Institute. Archived from the original (PDF) on May 7, 2012.

18. ^ "Otaku Market in Japan: Key Research Findings 2011" (PDF). Yano Research. October 15, 2011. Archived (PDF) from the original on December 18, 2014.

19. When this phrase is actually pronounced, the colloquial form ^ okkina otomodachi is often used. The phrase ōkii otomodachi is also used with the same meaning.

Works cited

External links

# data[].attributes.attachment_link.description
Otaku is a Japanese word that describes people with consuming interests, particularly in anime, manga, video games, or computers. Its contemporary use originated with a 1983 essay by Akio Nakamori in Manga Burikko . Otaku subculture is a central theme of various anime, manga, documentaries, and academic research.

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The Anxieties that Make the Otaku Capital and the Common Sense of Consumption in Contemporary Japan

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Japanese Subculture in the 1990s - Otaku and the Amateur Manga Movement