UlasanAnime.com – The Summer 2013 anime season brought forth several titles that warrant discussion, particularly those that seem to draw inspiration from the common elements found in 1990s otaku anime and manga. Among these are:
- Kiniro Mosaic
- Love Lab
- Tamayura ~More Aggressive~
- Going Home Club
- C^3-bu
When discussing a “database” in this context, it refers to a phenomenon where creators remix existing elements from past popular works. This remixing can involve design choices, writing styles, plot structures, or any other characteristic that defined the otaku anime and manga scene of the 90s. While this practice of decontextualized remixing is a more recent development, the underlying concept of drawing inspiration from previous works is not unique to anime, manga, games, or even Japan.
What is particularly noteworthy is how these remixes can form a profitable business model. However, “profitable” here is used in a relative sense; it’s not about immense financial success. By design, this niche market caters to specific tastes, offering value to those involved without necessarily aiming for mainstream dominance. The pros and cons of this approach are often debated, frequently tied to terms like “moe” or other prevailing trends. This, however, is not the focus of this discussion.
The core idea here is to apply the analogy of cable television and the proliferation of specialized channels. When the “mainstream” entertainment pie becomes sufficiently fragmented by numerous players, a strategy of not directly competing for the largest slices can be just as effective. In essence, the emergence of multiple high-budget, prime-time TV dramas creates the conditions for channels like the History Channel, Travel Channel, Science Channel, or Food Channel to become truly profitable. This is because they can attract a significant audience that is not interested in the mainstream dramas, yet the viewership is substantial enough to make the specialized channel worthwhile when compared to the alternative of competing directly with other major dramas.
There is likely an economic term for this type of diversification strategy. If you know it, please share it.
So, what does it signify when an anime season features five “cute girls doing cute things” anime? This abundance can be seen as a direct indicator of the appetite within the anime otaku market, a vertical measure of demand for this specific genre. These five shows are unashamedly targeted at otaku audiences and appeal in a similar fashion. Furthermore, they are clustered together, employing similar narrative and stylistic approaches, even if they do diverge into subgenres.
While C^3-bu might incorporate elements reminiscent of the “go to Koshien” trope, it’s unlikely that even the most well-executed examples, such as Girls und Panzer, can be considered truly mainstream. Of course, other anime this season clearly cater to otaku tastes, but they might not be vying for the same audience as these five. For instance, shows like Watamote or Genshiken Nidaime would likely occupy a different niche compared to this cluster of five. However, it’s possible that other factors are at play, and further insights are welcome.
Over the past half-decade, it has become evident that “true” kuukikei shows serve as the lifeblood of the anime otaku community. Tracking these titles across time can offer valuable insights into the evolving landscape of anime fandom, akin to measuring periods “pre-Aria” and “post-Aria.” This trend represents a turning point in understanding what truly resonates with the core of the anime otaku demographic, at least within Japan.
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