What Is An Otaku? The term, explored here at WHAT.EDU.VN, refers to someone with an intense passion, often for anime, manga, or video games, and related subcultures. Understanding this multifaceted concept means delving into its history, evolution, and cultural significance. We aim to shed light on this subculture and its evolving identity. Consider this your comprehensive guide to understanding the world of fandom, geek culture, and niche interests.
Table of Contents
- The History of Otaku
- The Antisocial Myth
- What Makes Otaku Exceptional Nerds
- How Japan Encourages Children to Become Otaku
- Derivative Works
- Pre-Internet Pioneers
- Otaku’s Mainstream Redemption
- Say It Loud, I’m Otaku and Proud
- FAQ about Otaku Culture
- Call to Action
1. The History of Otaku
Before answering the question “What is an otaku?”, it’s important to understand the historical context. The meaning of “otaku” is complex and evolves over time, shaped by media, cultural trends, and personal interpretation.
1.1. An Alternative to Reality
The seeds of the otaku culture were sown long before the term itself came into existence. The captivating narratives and appealing characters crafted by Osamu Tezuka in works like Astro Boy and Princess Knight ignited the passion of fans.
The rise of disposable incomes, televisions, and VCRs in the 1980s further amplified anime’s reach, creating a national audience. Anime became a significant force, exemplified by hits like Space Battleship Yamato and Mobile Suit Gundam.
Disenfranchisement further fueled anime’s growth. The youth protests of the 1960s and the economic bubble burst of the late 1980s were harsh realities.
Disenchantment following the youth protests of the 1960s and the economic downturn of the late 1980s fueled anime’s growth. Anime and manga served as an escape, offering comfort to those overworked, underpaid, or unemployed.
1.2. The Origin of the Word “Otaku”
As the manga and anime industries thrived, fans sought ways to connect. The 1980s witnessed a surge in conventions, college clubs, and consumerism. These shared interests formed common ground for strangers.
The Japanese language lacked a casual yet respectful way for fans to address each other. Eiji Otsuka, a social critic and anthropologist, noted:
The problem is that in Japan, there isn’t a proper word to express you in a situation where you want to speak passionately and personally about something to… someone whose name you don’t know, and to whom you haven’t been introduced formally. Calling the person by the second-person pronoun anata would sound strange as this is a word used between married couples. There is another second-person pronoun, kimi, but the relationship suggested by the term is too intimate. As a result, fans used the term otaku, which is a sort of honorific, somewhat ambiguous second-person pronoun.
While the word “otaku” evolved organically, Nakamori Akio, a writer critical of the burgeoning subculture, popularized it within Japanese nerd circles. He used the term to describe convention attendees in a 1983 article for Manga Burikko magazine.
オタク（おたく） geek; nerd; enthusiast
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… 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.
Nakamori’s label initially remained within the subculture. However, a notorious crime propelled “otaku” into public consciousness, casting a negative light on the term.
1.3. The Otaku Murderer
From 1988 to 1989, Tsutomu Miyazaki murdered four young girls in Saitama, Japan. His crimes included cannibalism, necrophilia, and vampirism. He even preserved body parts as trophies. However, the media emphasized his extensive collection of anime and manga.
Japanese anthropologist Eiji Otsuka explained,
News reports on Miyazaki described him not just as a serial killer, but also as an otaku, and this was what really brought the term to the public and shaped perceptions of it. The media implied that Miyazaki committed the crime because he couldn’t tell the difference between reality and fiction.
Whether Miyazaki was a true otaku remains debatable. Some argue that his collection lacked focus, while others point to his involvement in fanzines and conventions as justification for the label.
Regardless, the media sensationalized the case, focusing on the anime connection rather than Miyazaki’s troubled past and the disturbing nature of his crimes.
Otaku historian Roland Kelts explains, “The Japanese media branded Miyazaki ‘The Otaku Murderer’ and people who had never before heard the term ‘otaku’ came to know its pejorative meaning very well.”
The media frenzy surrounding the murders twisted “otaku,” giving the term a dark connotation. The murder case became a social issue, and otaku were the problem.
This media frenzy negatively skewed the perception of “otaku,” linking it to a dark connotation. This reaction echoes how Western media blamed video games and music for the Columbine High School massacre, casting the “goth” subculture in a sinister light.
Despite the fading furor over the Miyazaki case, the negative stigma surrounding otaku persisted. The term became associated with individuals who preferred an imaginary world to reality and struggled to differentiate between the two. They were seen as fanatics who abandoned marriage, family, and health in pursuit of a “valueless” hobby.
2. The Antisocial Myth
Miyazaki’s lifestyle, including his dark “otaku room,” antisocial tendencies, and “disturbing obsessions,” became the otaku stereotype. The term became synonymous with hikikomori (social recluses) as well as anime and manga. The subculture’s reliance on technology fueled this image.
ものコミ “thing” communication
This perception of “otaku” as creepy loners is inaccurate. Social interaction is central to otaku culture. Lawrence Eng writes,
Contrary to the stereotypical image of the otaku as socially isolated, anime fan communities are highly social and networked, relying on combinations of online and offline connections… Otaku knowledge requires immersion in not only information and media but also in ongoing social exchange about topics of interest.
Otaku connect through informal groups, college clubs, online forums, game centers, and conventions. Patrick Galbraith notes that “Connections emerge, and spaces of interaction arise as people share the moment – as in matsuri (festivals).”
Anime has proven to be an excellent icebreaker. Shared interests can foster connections and conversations.
As a subculture fueled by gathering and sharing information, otaku don’t shun interaction. They depend on it. And sharing information is valued as much as acquiring it.
Sharing information is highly valued. In monokomi ものコミ（） or “thing-communication,” details, collectibles, and news about series earn respect among fans.
Otaku appreciate unofficial fan activity. Cosplayers exchange tips. Teams create doujinshi (fan-made comics) and sell them at conventions. Online communities share custom art, figures, and fan fiction.
“Comic Market” or Comiket, a convention for fan-made products, exemplifies these efforts. The event draws thousands of creative “circles” and hundreds of thousands of attendees.
The subculture has transformed districts like Ikebukuro and Akihabara into “otaku mecca,” complete with maid cafes, game centers, conventions, and events that contradict the antisocial image.
3. What Makes Otaku Exceptional Nerds
Now that we’ve dispelled the negative stereotypes, we can define the true meaning of “What is an otaku?”. It boils down to one word: possession.
This refers to taking ownership of beloved series by examining every detail and creating costumes, fan fiction, music videos, figures, art, and new series based on those universes.
Tamaki Saitou states, “Being an otaku means being able to play around a little with the works you like; if you sanctify and worship them too much, you’ve fallen to the level of a mere maniac or fan.”
3.1. Otaku vs. Maniacs
Like otaku, “maniac” or maniakku マニアック（） are dedicated to a specific interest, focusing on obsession and collecting. However, nuances differentiate the two.
マニアック enthusiast
Maniacs are spectators in their obsession, valuing tangible objects with intrinsic value, such as rare cameras. Tamaki Saitou explains:
Maniac have a concrete materiality. By concrete materiality I mean simply that one can pick them up in one’s hands and that they can be measured. Generally speaking, maniacs compete with each other in terms of how effectively their hobbies translate into materiality.
Otaku’s interests encompass both tangible and intangible elements, with value that may not be apparent to non-otaku, especially in fan-made works.
3.2. Remix + Exchange = Possession
Maniacs passively enjoy their obsessions, while otaku are contributors and participants. They value homemade, derivative products that others may not understand. Tamaki Saitou writes,
世界観（せかいかん） world view
(Otaku) know that the objects of their attachment have no material reality, that their vast knowledge has no use for other people in the world and that this useless knowledge may even… be viewed with contempt and suspicion.
Otaku take possession of what they love and make it their own, considering the fictional series’ official universe or sekaikan 世界観（せかいかん） (worldview). However, the author’s vision is not absolute. Possession results from remixing the source material and contributing to the community. Tamaki Saitou continues,
(Otaku are) not just fans, but connoisseurs, critics, and authors themselves. This blurring of the distinction between producer and consumer is another characteristic of the otaku.
Otaku take official series canon into account. But the author’s vision is not absolute. Remix and customization are the otaku subculture’s soul.
This creativity forms the foundation of otaku-dom. When merchandise was scarce, fans created custom items, unknowingly participating in otaku-centric activities.
Japan dubbed this phenomenon nijisousaku 二次創作（にじそうさく） or secondary production, contrasting with the primary production of creators and rights owners.
二次創作（にじそうさく） derivative work
Cosplay, fan fiction, fan games, music, doujinshi, and other creative activities empower otaku, fostering participation and ownership. Magazines cover plastic model kits, illustration, customized game systems, and cosplay. Grassroots creativity proves otaku function as an “open source remix culture,” as coined by Fenchy Lunning.
4. How Japan Encourages Children to Become Otaku
Derivative works play a crucial role in the otaku realm. Japanese culture encourages ownership from a young age. Children participate, rather than just spectate. Lawrence Lessig writes,
Japanese media have really been at the forefront of pushing recombinant and user-driven content starting with very young children. If you consider things like Pokemon and Yu-Gi-Oh! as examples of these kinds of more fannish forms of media engagement, the base of it is very broad in Japan.
He notes that while American culture teaches children to buy and enjoy products as is, Japanese culture encourages children to create with their products.
This process is broken down into three stages:
4.1. Stage 1: Creativity Encouraged
In the first stage, creativity is encouraged within a preset universe with a rigid structure. Pokemon, for example, offers an immersive universe to explore, study, and participate in. Lawrence Lessig elaborates:
Pokemon is something you do, not just something you read or watch or consume… The child assembles what they know about Pokemon from various media with the result that each child knows something his or her friends do not and thus has a chance to share this expertise with others… Every person has a personalized set of Pokemon.
Children choose which pocket monsters to catch, keep, and evolve, encouraging responsibility, ownership, and simple remixing.
4.2. Stage 2: Creativity Practiced
In the second stage, creativity is practiced. Children use experiences from the encouragement stage to create more freely, adding their own elements or creating unique universes.
Creativity is the norm, rather than the exception in Japan.
4.3. Stage 3: Creativity Realized
In the third stage, creativity is realized when creators’ production, organization, and distribution approach a professional level. Hobbyists might turn pro, making their hobby a lifelong career.
Yudetamago, two friends who started drawing manga together as children, exemplify creativity realized. The duo won awards for their amateur manga in junior high school. Their breakthrough series, Kinnikuman, remixed Ultraman and pro-wrestling before evolving into a unique comedy-action series. The success of Kinnikuman enabled the duo to become professional manga artists at a young age.
5. Derivative Works
While some otaku fans never reach the professional level, most are content to continue creating as a hobby, celebrating series and sharing their creations with fans.
Fans blur the line between official releases and derivative works. Cosplay and cosplay-photography have evolved, producing amazing costumes and photos. Customized figures molded in fan-made resin-kits can surpass official merchandise. Anime Music Videos (AMV) implement editing techniques to produce tributes.
Fan fiction fills plot holes or illustrates details neglected by series creators. For example, twitter user @dragongarowLEE created a training montage (shown above) that was alluded to, but not shown in the movie Dragon Ball Z: Resurrection F.
Some derivative works compensate for disappointments in the official narrative. Many dissatisfied Neon Genesis Evangelion fans re-imagined their own endings for the series.
Otaku treat derivative works as seriously as the “real” thing, blending the official and unofficial. Many of today’s industry giants got their start mimicking or parodying their favorite series.
Other derivative works place characters in new situations or stories, like gender bender, boys love, or erotic scenarios. The studio Clamp took this approach, putting their own spin on Captain Tsubasa and Saint Seiya.
Culture critic Hiroki Azuma has said, “If we fail to consider the derivative works of amateurs in favor of only the commercially manufactured, projects and products, we will be unable to grasp the trends of otaku culture.”
Unlike otaku, Western fans tend to worship the official narrative, known as canon or Gospel. They celebrate a deep knowledge of the series. Few embrace the unofficial, which are dismissed as counterfeit, lesser quality, or illegal. As a result, Western culture tends to dismiss the importance of unofficial efforts.
Otaku treat derivative works as seriously as the “real” thing, blending the official and unofficial. Many of today’s industry giants got their feet wet mimicking, homaging, or parodying their favorite series.
6. Pre-Internet Pioneers
By today’s standards, otaku don’t seem all that special. Nerd culture has overtaken the mainstream in the West.
High-speed internet allows for instant communication, access to information, and circulation of media. Affordable production equipment has made fan projects easier. Crowdfunding and social media have enabled Western fans to connect, finally reaching otaku levels of creativity and participation. Without these technological advances, Western nerds might still be lagging behind Japan’s otaku in terms of organization and remix culture.
This is partly due to Western media rights holders. Strict copyright enforcement would have stifled remix and exchange. As a result, even hardcore fans were forced to remain spectators, enjoying the official narrative.
Otaku Possession culture has finally gained a foothold in the west, but it took longer than it did in Japan. Western nerds are finally reaching otaku levels of creativity and remix.
Even without copyright barriers, would the Western nerd movement have reached the same swell as Japan’s otaku? Until recently, “canon” or official world-view reigned in Western nerd-dom. Fans anticipated official releases, argued about universe details, and lashed out when creators’ visions didn’t meet expectations. Collectors prized official comics, figures, and promotional goods. Though this is slowly changing, there still seems to be a preference for the “legitimate” over the “counterfeit.”
But in Japan, otaku possession culture bloomed decades ago using grassroots distribution techniques like mailing lists, fanzines, fan circles, and conventions. Otaku respected the unofficial, the non-canon, and the independent from the very start. Western fans gained physical possession through merchandising and prided themselves on knowledge of the official universe. But their creative possession paled in comparison to Japan’s otaku.
7. Otaku’s Mainstream Redemption
“Otaku” has come a long way. The underground greeting gained unfortunate recognition thanks to the “Otaku Murderer.” But the shunned subculture worked hard to shed its stigma and has finally gained something akin to mainstream acceptance. Otaku culture launched a lucrative industry that’s spread across the globe. Worldwide appreciation and respect has given anime an air of legitimacy and otaku culture has won respect from surprising sources.
Comical, heartfelt spins on the otaku motif, like the popular drama Densha Otoko, depicts Japanese nerds as kind and hardworking people. It moved away from critical animalization and allowed outsiders to empathize with the shunned and misunderstood subculture.
More recently, the Japanese government harnessed otaku culture as a form of international “soft power.” The government’s official Cool Japan program encourages the spread of anime fandom abroad, hoping to aid Japan’s international popularity and promote tourism.
Moreover, official government programs are helping anime culture flourish in Japan. In an attempt to encourage domestic anime production, the Japanese government created the Young Animator Training Project, funding animation ventures by up and coming artists.
With so much support from the government and the general public, it’s easy to feel comfortable calling myself otaku.
8. Say It Loud, “I’m Otaku and Proud”
Whether it’s superhero comics or fantasy football, there’s likely something you’re a nerd about. If you “possess” your nerdery through remix or exchange, then welcome to the long tradition of otaku-dom.
9. FAQ about Otaku Culture
| Question | Answer |
|---|---|
| What is the difference between otaku and weeaboo? | Otaku is a Japanese term for someone with obsessive interests, often in anime and manga. Weeaboo is a derogatory term used by some to describe non-Japanese people who are overly enthusiastic about Japanese culture, sometimes to the point of being disrespectful or appropriative. |
| Is being an otaku a good thing? | It depends on individual perspective. Some people see it as a positive way to express passion and creativity, while others view it negatively due to stereotypes. There is also discussion about the potential for excessive obsession and social isolation. |
| What are some common otaku interests? | Anime, manga, video games, cosplay, collecting figures, attending conventions, creating fan art, and writing fan fiction are all common. |
| How do I know if I am an otaku? | Do you have intense interests in a specific niche? Do you spend a significant amount of time and energy on these interests? Do you enjoy connecting with others who share your passions? If so, you may be an otaku. |
| What is the role of fan fiction in otaku culture? | Fan fiction allows fans to explore and expand on their favorite stories and characters. It’s a creative outlet and a way to connect with other fans. |
| Are otaku always antisocial? | No. While some otaku may struggle with social interaction, many enjoy connecting with others who share their interests. Online communities and conventions provide opportunities for otaku to socialize. |
| What is the “Cool Japan” initiative? | “Cool Japan” is a Japanese government initiative to promote Japanese culture abroad, including anime, manga, and video games. The goal is to increase tourism and boost the Japanese economy. |
| How has the internet impacted otaku culture? | The internet has made it easier for otaku to connect with each other, share information, and create fan content. Online communities and social media have played a significant role in the growth and evolution of otaku culture. |
| What are some famous anime and manga series popular among otaku? | The popularity shifts over time but iconic series include Neon Genesis Evangelion, Cowboy Bebop, Dragon Ball, One Piece, Naruto, Attack on Titan, and many more. |
| Are there otaku outside of Japan? | Yes, otaku culture has spread globally. There are otaku communities and conventions all over the world. |
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