Debating Otaku in Contemporary Japan: Historical Perspectives and New Horizons (SOAS Studies in Modern and Contemporary Japan)

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ‘otaku’ to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ‘otaku’ appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ‘otaku’ by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ‘otaku’ in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ‘otaku’ in specific historical, social and economic contexts, providing new insights into the significance of the ‘otaku’ phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ‘otaku’. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ‘otaku’, at different places and times and to different people, is meaningful. With the spread of Japanese comic and cartoons around the world, many have adopted the term ‘otaku’ to refer to fans of such media. As otaku have become a ‘taken-for-granted feature of the global cultural landscape’, so too have they become a taken-for-granted object of analysis and discourse. This edited volume seeks to disrupt this naturalization and trivialization by examining the historical contingency of ‘otaku’ in contemporary Japan. It is common practice to construct a history of otaku from well-known ‘facts’. Indeed, one can simply relay a series of dates – 1983, 1989, 1996, 2005 – people, and events as shorthand for this history. Original documents most often go untranslated and unread, but are nonetheless cited or collapsed into media moments that are ‘black boxed’. Against this backdrop, this edited volume is intended to open a debate about ‘otaku’. Chapters are discussions of primary Japanese documents and translations of key contributions by Japanese scholars of ‘otaku’, which appear here in English for the first time. Though sustained analysis of Japanese documents and translation of Japanese scholars, this edited volume explores the contingency of ‘otaku’ across time and expose the politics of labelling. Cover page 1 Halftitle page 2 Copyright page 3 Copyright page 5 Dedication 6 Contents 8 List of Figures and Tables 10 Notes on Contributors 11 Foreword Otaku Culture as ‘Conversion Literature’1 14 Translator’s introduction 14 Foreword 16 Notes 27 References 29 Acknowledgements 31 Introduction ‘Otaku’ Research: Past, Present and Future 34 On ‘otaku’ research 35 Otaku/ Otaku /OTAKU 37 Taxonomy of fans 41 Social constructionist approach 43 A revised labelling approach 46 Notes 47 References 49 Section One The 1980s 52 1 ‘“Otaku” Research’ and Anxiety About Failed Men 54 Introduction 54 Desire for fictional characters 54 The case of Manga Burikko 57 ‘Otaku’ as failed men 59 Conclusion 63 Notes 64 References 66 2 Birth of ‘Otaku’: Centring on Discourse Dynamics in Manga Burikko1 68 Introduction 68 Nakamori Akio and ‘ “Otaku” Research’ 69 Otaku’ recognized as a discriminatory term 72 The editorial strategy of Ōtsuka Eiji surrounding ‘otaku’ 74 Self-tormenting ‘otaku’ and enlightened activity by the editorial board 78 Conclusion 80 Notes 80 References 82 3 Opening the Black Box of the 1989 Otaku Discourse1 84 Introduction: Assembling otaku 84 Point of entry: Qualitative content analysis 87 Otaku and the mass media 88 Tabloids and the Miyazaki reserve troops 92 Managing otaku 93 Establishing otaku 96 Conclusion: Recursive modes of ordering 97 Notes 98 References 101 Section Two The 1990s 104 4 Traversing Otaku Fantasy: Representation of the Otaku Subject, Gaze and Fantasy in Otaku no Video 106 Introduction 106 General representations of otaku in media 107 What are otaku? 109 Otaku no Video (1991) 110 The otaku object in Otaku no Video 112 The otaku subject in Otaku no Video 114 Mockumentary as otaku gaze 115 Traversing fantasy in Otaku no Video 117 Notes 118 References 119 5 Introduction to Otakuology1 122 Translator’s introduction 122 Part 1: Subculture and otaku culture 123 Freedom of otaku culture 128 Part 2: Otaku are the legitimate heirs of Japanese culture 130 Notes 132 Section Three The 2000s 136 6 The Construction of Discourses on Otaku: The History of Subcultures from 1983 to 20051 138 Introduction 138 Birth of the category of ‘otaku’ 139 ‘Otaku’ as a personality problem 140 Theories of ‘otaku’-style consumer society 153 Theories on otaku as fashion 155 In lieu of a conclusion 158 Notes 159 References 160 7 Train Man and the Gender Politics of Japanese ‘Otaku ’ Culture: The Rise of New Media, Nerd Heroes and Consumer Communities1 162 Introduction 162 How fans created Train Man and engendered media trends 163 The gender politics of mainstream otaku culture 169 Conclusion 174 Notes 175 References 176 8 The Transformation and Diffusion of ‘Otaku’ Stereotypes and the Establishment of ‘Akihabara’ as a Place-brand1 180 Introduction 180 Akihabara as cutting-edge electric town 180 Akihabara as the ‘holy land of otaku’ 182 Competing images of Akihabara 182 The origin and transformations of ‘otaku’ 185 Study of otaku stereotypes 186 Conclusion 192 Notes 192 References 193 9 The Transition of Otaku and Otaku1 196 Translator’s introduction 196 How otaku became otaku 197 The era of otaku before otaku 198 The existence of ‘M’ 198 Introduction to Otakuology 199 Image changing for the better 201 Expansion of otaku 202 Otaku forebears and the first generation 203 The first generation, or the TV generation 204 Second generation and society 205 The cultivated third generation 205 Definition by academia 207 Japan is not limited to Tokyo 208 Notes 209 References 210 10 ‘Otaku’ as Label: Concerns over Productive Capacities in Contemporary Capitalist Japan1 212 Introduction: the common sense on ‘otaku’ 212 The study of ‘otaku’ as a label and its theoretical implications 213 Disgusting excitement at two-dimensional characters (that are not naked) 215 Unproductive and auto-productive desires 220 Conclusion: Concerns over productive capacities in contemporary capitalism 223 Notes 225 References 226 Index 230 Cover page ......Page 1 Halftitle page ......Page 2 Copyright page ......Page 3 Copyright page ......Page 5 Dedication ......Page 6 Contents......Page 8 List of Figures and Tables......Page 10 Notes on Contributors......Page 11 Translator’s introduction......Page 14 Foreword......Page 16 Notes......Page 27 References......Page 29 Acknowledgements......Page 31 Introduction ‘Otaku’ Research: Past, Present and Future......Page 34 On ‘otaku’ research......Page 35 Otaku/ Otaku /OTAKU......Page 37 Taxonomy of fans......Page 41 Social constructionist approach......Page 43 A revised labelling approach......Page 46 Notes......Page 47 References......Page 49 Section One The 1980s......Page 52 Desire for fictional characters......Page 54 The case of Manga Burikko......Page 57 ‘Otaku’ as failed men......Page 59 Conclusion......Page 63 Notes......Page 64 References......Page 66 Introduction......Page 68 Nakamori Akio and ‘ “Otaku” Research’......Page 69 Otaku’ recognized as a discriminatory term......Page 72 The editorial strategy of Ōtsuka Eiji surrounding ‘otaku’......Page 74 Self-tormenting ‘otaku’ and enlightened activity by the editorial board......Page 78 Notes......Page 80 References......Page 82 Introduction: Assembling otaku......Page 84 Point of entry: Qualitative content analysis......Page 87 Otaku and the mass media......Page 88 Tabloids and the Miyazaki reserve troops......Page 92 Managing otaku......Page 93 Establishing otaku......Page 96 Conclusion: Recursive modes of ordering......Page 97 Notes......Page 98 References......Page 101 Section Two The 1990s......Page 104 Introduction......Page 106 General representations of otaku in media......Page 107 What are otaku?......Page 109 Otaku no Video (1991)......Page 110 The otaku object in Otaku no Video......Page 112 The otaku subject in Otaku no Video......Page 114 Mockumentary as otaku gaze......Page 115 Traversing fantasy in Otaku no Video......Page 117 Notes......Page 118 References......Page 119 Translator’s introduction......Page 122 Part 1: Subculture and otaku culture......Page 123 Freedom of otaku culture......Page 128 Part 2: Otaku are the legitimate heirs of Japanese culture......Page 130 Notes......Page 132 Section Three The 2000s......Page 136 Introduction......Page 138 Birth of the category of ‘otaku’......Page 139 ‘Otaku’ as a personality problem......Page 140 Theories of ‘otaku’-style consumer society......Page 153 Theories on otaku as fashion......Page 155 In lieu of a conclusion......Page 158 Notes......Page 159 References......Page 160 Introduction......Page 162 How fans created Train Man and engendered media trends......Page 163 The gender politics of mainstream otaku culture......Page 169 Conclusion......Page 174 Notes......Page 175 References......Page 176 Akihabara as cutting-edge electric town......Page 180 Competing images of Akihabara......Page 182 The origin and transformations of ‘otaku’......Page 185 Study of otaku stereotypes......Page 186 Notes......Page 192 References......Page 193 Translator’s introduction......Page 196 How otaku became otaku......Page 197 The existence of ‘M’......Page 198 Introduction to Otakuology......Page 199 Image changing for the better......Page 201 Expansion of otaku......Page 202 Otaku forebears and the first generation......Page 203 The first generation, or the TV generation......Page 204 The cultivated third generation......Page 205 Definition by academia......Page 207 Japan is not limited to Tokyo......Page 208 Notes......Page 209 References......Page 210 Introduction: the common sense on ‘otaku’......Page 212 The study of ‘otaku’ as a label and its theoretical implications......Page 213 Disgusting excitement at two-dimensional characters (that are not naked)......Page 215 Unproductive and auto-productive desires......Page 220 Conclusion: Concerns over productive capacities in contemporary capitalism......Page 223 Notes......Page 225 References......Page 226 Index......Page 230 Cover -- Half-title -- Title -- Copyright -- Dedication -- Contents -- List of Figures and Tables -- Notes on Contributors -- Foreword: Otaku Culture as 'Conversion Literature' -- Acknowledgements -- Introduction: 'Otaku' Research: Past, Present and Future -- On 'otaku' research -- Otaku/Otaku/OTAKU -- Taxonomy of fans -- Social constructionist approach -- A revised labelling approach -- Notes -- References -- Section One: The 1980s -- 1 ' "Otaku" Research' and Anxiety About Failed Men -- Introduction -- Desire for fictional characters -- The case of Manga Burikko -- 'Otaku' as failed men -- Conclusion -- Notes -- References -- 2 Birth of 'Otaku': Centring on Discourse Dynamics in Manga Burikko -- Introduction -- Nakamori Akio and ' "Otaku" Research' -- 'Otaku' recognized as a discriminatory term -- The editorial strategy of Ōtsuka Eiji surrounding 'otaku' -- Self-tormenting 'otaku' and enlightened activity by the editorial board -- Conclusion -- Notes -- References -- 3 Opening the Black Box of the 1989 Otaku Discourse -- Introduction: Assembling otaku -- Point of entry: Qualitative content analysis -- Otaku and the mass media -- Tabloids and the Miyazaki reserve troops -- Managing otaku -- Establishing otaku -- Conclusion: Recursive modes of ordering -- Notes -- References -- Section Two: The 1990s -- 4 Traversing Otaku Fantasy: Representation of the Otaku Subject, Gaze and Fantasy in Otaku no Video -- Introduction -- General representations of otaku in media -- What are otaku? -- Otaku no Video (1991) -- The otaku object in Otaku no Video -- The otaku subject in Otaku no Video -- Mockumentary as otaku gaze -- Traversing fantasy in Otaku no Video -- Notes -- References -- 5 Introduction to Otakuology -- Translator's introduction -- Part 1: Subculture and otaku culture -- Freedom of otaku culture None Otsuka Eiji Patrick W. Galbraith, Thiam Huat Kam, Björn-Ole Kamm The 1980s Patrick W. Galbraith Yamanaka Tomomi Björn-Ole Kamm The 1990s Shen Lien Fan Okada Toshio The 2000s Aida Miho Alisa Freedman Kikuchi Satoru Okada Toshio Thiam Huat Kam Edited By Patrick W. Galbraith, Thiam Huat Kam And Björn-ole Kamm. Originally Published In Hardback 2015. Includes Bibliographical References And Index.