UlasanAnime.com – This article explores the multifaceted appeal of tourism within the context of contemporary late-night anime, extending beyond the mere showcasing of physical locations to encompass abstract dimensions and the concept of shared experiences.
You might also be interested in : Otakon Music Festival 2012
The author highlights tangible examples of anime-induced tourism, such as fans visiting the Washinomiya shrine for traditional New Year’s greetings (hatsumode). The article also references Toyama’s promotional efforts for “Hanasaku Iroha,” which brought the anime’s rural landscapes to life for viewers. Personal travel aspirations are mentioned, including a desire to visit Lake Kizaki, inspired by the “Please Teacher” franchise, and to witness a Koshien baseball game, though a specific anime attribution for this is uncertain. The possibility of engaging in activities like fishing for mahi-mahi off the coast of Enoshima, as depicted in “Tsuritama,” or sightseeing the beaches and bridges featured in “Tari Tari,” are also noted. The author also draws a parallel to experiencing famous London streets through “K-ON! The Movie,” akin to their appearance on Beatles album covers, illustrating this form of tourism.
Furthermore, the article posits that encountering foreign locales within anime itself constitutes a form of tourism. The allure of exotic or unfamiliar settings, much like being physically present in a foreign land, inherently makes stories more engaging. The author uses “Aria” as an example, suggesting it inspires not only a desire to visit Venice but also to explore Mars. The combination of a real-world location with a fantastical reimagining, such as Venice transformed into a high-fantasy planet-city, is considered particularly captivating. This concept is also seen as a significant draw for series like “Horizon in the Middle of Nowhere,” where familiar backdrops like London are presented with historical characters in altered roles, creating a doubly exotic experience, especially for an American perspective. The notion of Japan itself, with its cities reimagined as colossal ships, is presented as an interesting, novel destination for foreign viewers.
The inherent appeal of anime for international audiences (“gaijin”) is attributed to this element. What might appear as a mundane journey, such as a trip to Tochigi with stops at Tokyo JR station, can be perceived as an epic odyssey by those who have not personally experienced it. The enchanting transformation of ordinary train rides into magical experiences within anime is readily accepted by foreign viewers without skepticism. This suspension of disbelief is further amplified when the mundane is rendered exotic, creating a natural acceptance of the fantastical elements.
The author likens this to the initial episode of “Someday’s Dreamer” (“Natsu no Sora”), where the protagonist, Sora, navigates the iconic Shibuya scramble crossing. In such instances, the observed form of tourism is less about the physical place and more about the customs, atmosphere, and emotions evoked. This is characterized as cultural tourism, allowing appreciation for aspects like enjoying monjayaki without the practical effort of preparation, or experiencing a Texan lifestyle with Japanese mannerisms. The author humorously notes the potential for misinterpretations, such as fearing a gator might have eaten a character like Apo, and uses “Space Brothers” as an example of how the “gaijin factor” can diminish the fantastical elements of a setting.
The most compelling instances of anime tourism, according to the author, successfully integrate both location and emotional resonance. Ideally, they should inspire a desire in the viewer to visit the depicted location. The author reflects on their own perception of Enoshima, which is typically associated with crowded, touristy seaside spots, contrasting it with the beautiful natural reserves portrayed in “Tari Tari” and “Tsuritama.” Similarly, the romantic ideal of Venice might be challenged by the anime’s portrayal.
The article concludes with a cautionary note regarding the risks of learning about real life through fiction. While the risks associated with tourism focused on actual physical locations are deemed low, cultural tourism carries the potential for superficial understanding. Viewers might believe they grasp a culture without truly doing so, leading to misconceptions. The author uses examples like the stereotypical “weeaboo” who fixates on ninjas and geishas, or the potentially flawed perceptions of those who enjoyed the settings of “Baccano” or “Durarara,” to illustrate this point.
