By Mizuko Ito, Daisuke Okabe, Izumi Tsuji
In recent times, otaku tradition has emerged as one among Japan’s significant cultural exports and as a surely transnational phenomenon. This well timed quantity investigates how this as soon as marginalized pop culture has come to play a massive function in Japan’s identification at domestic and out of the country. within the American context, the be aware otaku is healthier translated as “geek”—an ardent fan with hugely really good wisdom and pursuits. however it is linked specifically with enthusiasts of particular Japan-based cultural genres, together with anime, manga, and games. most vital of all, as this assortment exhibits, is the way in which otaku tradition represents a newly participatory fan tradition within which enthusiasts not just arrange round area of interest pursuits yet produce and distribute their very own media content material. during this selection of essays, eastern and American students supply richly unique descriptions of ways this as soon as stigmatized jap adolescence tradition created its personal replacement markets and cultural items equivalent to fan fiction, comics, costumes, and remixes, changing into a huge overseas strength which could problem the dominance of business media. through exploring the wealthy number of otaku tradition from a number of views, this groundbreaking assortment offers interesting insights into the current and way forward for cultural creation and distribution within the electronic age.
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Extra info for Fandom Unbound: Otaku Culture in a Connected World
6 This period was also a time when the “real thing” began to gain dominance over models. 6). 8 Even in the model world, attention shifted from the more free-form models that allowed for imaginative creations to kits and plastic models WHY STUDY TRAIN OTAKU? 5. Bullet train and monorail. Credit: Drawing by Sadao Kimura in Norimono Ehon (Picture Book of Vehicle) (supervised by Sekita 2007, 62). that closely mimicked existing trains. This shift was reflected in the models’ scale. During the DIY era, relatively large-scale models such as the O scale (approximately 1:45 scale) were prevalent, allowing modelers to dwell on the details of each locomotive.
If this essay can remind readers of these difficulties, I believe it has served a useful function in this collection. Hiroki Azuma 2011 OTAKU AND POSTMODERNITY The Propagation of Simulacra My claim that there is a deep relationship between the essence of otaku culture and postmodern social structure is not particularly new. The following two points have already been identified as postmodern characteristics of otaku culture. One is the existence of derivative works. Here I use the phrase “derivative works” as a general term for the largely eroticized rereading and reproduction of original manga, anime, and games sold in the form of fanzines, fan games, fan figures, and the like.
So we’ve decided to designate them as the “otaku,” and that’s what we’ll be calling them from now on. ’ ” Furthermore, phrases such as “guys with every back issue of SF Magazine and the Hayakawa science-fiction novels lining their bookshelves” and “science fair types with coke-bottle glasses who station themselves at the local computer shop” also indicate that characteristics and behaviors associated with the eras of fantasy and dreams had already been attached to the definition of otaku. ” WHY STUDY TRAIN OTAKU?