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The nature and scale of Otaku has changed over the decades, the first generation of the Otaku was considered started in the 1960s. Otaku "is a general term referring to those who indulge in forms of subculture strongly linked anime, video games, computers, science fiction, special- effects films, anime figurines, and so on" (Okamoto, 2015). It also revolves around the person's personal interests and as the culture has become more diverse it has also become more mainstream.

Okamoto, Takeshi. “Otaku Tourism and the Anime Pilgrimage Phenomenon in Japan.” Japan Forum, vol. 27, no. 1, Mar. 2015, pp. 12–36. EBSCOhost, doi:10.1080/09555803.2014.962565.

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The first generation of Otaku developed in the 1960s, and was mainly considered young people who participated. This generation grew up watching "Space Battleship Yamato" and "Mobile Suit Gundam." With the start of this it made subcultures for future decades of Otaku culture. These series impacted this generation as they watched it growing up in their teen years and started the interest in collecting and investing more in anime.

Okamoto, Takeshi. “Otaku Tourism and the Anime Pilgrimage Phenomenon in Japan.” Japan Forum, vol. 27, no. 1, Mar. 2015, pp. 12–36. EBSCOhost, doi:10.1080/09555803.2014.962565.

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The cosmopolitan affect is the "affective engagements, financial, cultural, forced, chosen, with other places are both known and imagined places" (Annett, 2018). Forms of the cosmopolitan affect are seen in the consumption of anime by younger fans in other countries like the United States and Canada. This affect takes place in many "postnational" works which means there's not defining national landmarks or Japanese text.

Annett, Sandra. "From Vulnerable Minds to Cosmopolitan Affect: Child Fans of Anime in the 1960s-1980s." Mechademia, vol. 11, no. 1, fall 2018, pp. 25+. Gale OneFile: Pop Culture Studies, link.gale.com/apps/doc/A589697803/PPOP?u=gale15690&sid=bookmark-PPOP&xid=f8ccc839. Accessed 24 Jan. 2022.

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An example of the cosmopolitan effect in anime is the show known to America as "Astro Boy." This series is considered postnational as it is set in the future "where cars can fly and the cities are stateless" (Annett, 2018). The main character is a robot boy which has no clear national markers, this shows how the series takes place in "the scale of fully global postnational" (Annett, 2018). This laid the groundwork for this series to be distributed internationally and was even rerecorded with English voice actors. As we can see in this trailer for the show in 1963, the singing is English and takes place in the future in no clear location.

Annett, Sandra. "From Vulnerable Minds to Cosmopolitan Affect: Child Fans of Anime in the 1960s-1980s." Mechademia, vol. 11, no. 1, fall 2018, pp. 25+. Gale OneFile: Pop Culture Studies, link.gale.com/apps/doc/A589697803/PPOP?u=gale15690&sid=bookmark-PPOP&xid=f8ccc839. Accessed 24 Jan. 2022.

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Find out more about Nozomi Entertainment's release of Astro Boy at http://ww.nozomient.com The original boy-robot with 100,000 horsepower strength and courage! In the year 2000, Dr. Boyton creates a super-robot in his deceased son's image. He calls the robot Astro Boy. Astro Boy can swim oceans, leap over mountains, even fly into space on his own power.

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In the 1960s after the success of "Astro Boy" in 1963, the production of anime needed to be increased. Japan wanted low cost way to keep up with production so they out- sourced to Korea. With the number of anime programs increasing and the lack of animators at the time due to the increase in demand Korea was the only option. Over the years there would grow to be over 30 studios subcontracted by Japanese companies. Soon some series began saying "born in Korea" (MŌri, 2011).

MŌRI, YOSHITAKA. “The Pitfall Facing the Cool Japan Project: The Transnational Development of the Anime Industry under the Condition of Post-Fordism.” International Journal of Japanese Sociology, vol. 20, no. 1, Nov. 2011, pp. 30–42. EBSCOhost, doi:10.1111/j.1475-6781.2011.01146.x.

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Japan used Korea outsourcing of animation in the creation of "Ōgon Bat" or translated Golden Bat in 1967 and then also "Yōkai Ningen Bem" or Humanoid Monster Bem  in 1968. From that Toei Animations started to work more closely with Korean studios. Both of these shows aired for a year and with success it brought more to creation of animations to Korea.

MŌRI, YOSHITAKA. “The Pitfall Facing the Cool Japan Project: The Transnational Development of the Anime Industry under the Condition of Post-Fordism.” International Journal of Japanese Sociology, vol. 20, no. 1, Nov. 2011, pp. 30–42. EBSCOhost, doi:10.1111/j.1475-6781.2011.01146.x.