UlasanAnime.com – The anime fandom, often perceived as a niche community, has developed unique ways of fostering harmony and managing diverse interests, a concept explored in discussions about its “ghetto” nature. This approach allows for a broader spectrum of content and discourse to coexist within the community.
The following is a compilation of tweets and thoughts shared by various individuals, including SDS, Ed, Daryl, and JP, delving into the complexities of fandom and its inherent biases.
SDS: I can’t help but wonder if the root of nerd misogyny is a bitterness towards being unable to reap the benefits of being male often mentioned.
SDS: If one does disagree about a character being sexist or not, I would hope the argument would involve reasons why that character is positive.
SDS: And not “Well it happens to guys too so there!” (it doesn’t)
Ed Sizemore: @sdshamshel Shhh. Let the gamers and superhero fans be insensitive jerks. They can drive the geek girls into the arms of the anime fanboys.
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Daryl: @edsizemore Per @sdshamshel’s hypothesis, if the geek girls are driven to the anime fanboys the anime fans without will intensify their hate.
jpmeyer: @DarylSurat @edsizemore @sdshamshel my theory is that anime fandom isn’t as bad because it has rigidly gendered areas (waifus vs. yaoi etc).
me: @jpmeyer anime nerds can get it on without resorting to line-blurring stuff; fanservice a time honored element.
me: @jpmeyer or another way of saying, there is less qualms about outright porn in anime fandom.
jpmeyer: @omonomono when your fandom coins the phrase “rule 34”, you don’t flip out when girls draw pictures of your favorite characters buttsecksing.
The reality is that anime culture has grown alongside and within a context of often provocative content, including themes like “Tentacle Rape.” This association has led to misunderstandings about the medium, with its exploitative reputation in the 80s and 90s stemming from works available in the West at the time, despite the broad term “anime” encompassing all Japanese animation, from children’s shows to more adult-oriented content.
Video gaming has evolved significantly since its early days. However, unlike anime, video games have always been more intimately familiar to Western audiences and have generally been perceived as a wholesome family activity, akin to the word “cartoon.” In contrast, Japanese games might be treated as a distinct category. It wasn’t until the mid-90s that mainstream gaming began to broach adult content beyond simple concepts like strip poker, especially as graphical capabilities improved. While games often involved violence, titles like the Grand Theft Auto series pushed boundaries around the turn of the century, while older “adult” games largely remained family-friendly, catering to adult sensibilities.
Crucially, consoles and video games became a shared experience for many, which might explain why they receive broader attention. The current trend sees this sensibility gradually expanding within mainstream gaming, addressing issues that anime has grappled with since its inception. If gamers acknowledge the full spectrum of human discourse as fair game within video games, it could lead to a more mature understanding. This means confronting the sexist and misogynistic aspects, similar to how legalizing marijuana or acknowledging a problem is the first step to addressing it.
The suggestion here is subtle: it’s not about creating more adult games to make mainstream games less sexist. Instead, it’s about whether gamers will self-regulate if provided with appropriate “playgrounds” to pursue their interests independently. This could involve creating game genres that render certain types of content obsolete or expanding the variety of themes and human needs addressed, beyond just gameplay. Imagine a scenario where diverse games cater to different tastes, rather than a yearly cycle of sequels from a few major publishers.
The overarching concept of “AAA” gaming further exacerbates this problem. It’s restrictive that attention is focused on a limited number of games due to massive marketing budgets. The authenticity of these AAA titles is often questionable, comparable to the manufactured personas seen in some music artists.
The issue with everyone focusing on a single game is that it becomes difficult to fund controversial titles that might intentionally provoke audiences. If a flagship game is sexist, treats minorities poorly, or is excessively violent, does it matter? More importantly, what does our focus on AAA titles say about our disregard for the countless other games that receive little to no press, some of which might be exceptional or deeply flawed? This double standard is precisely the mechanism that anime communities have long employed for coexistence.
The author shares a common ground with those who purchase anime figures, even those considered NSFW. This shared interest in anime, regardless of specific preferences, means that individuals within the anime/manga sphere often have differing tastes. Rule 34, after all, is universal. While not everyone may approve, the existence of such content in a relative vacuum, both physically and contextually, allows for coexistence. The merit of ideas remains the primary driver for good stories, characters, settings, and fan engagement. Anime has historically faced marketing challenges overseas, but this also allows niche or less conventional anime to gain traction within fandom if they possess merit. The siloing of different fan interests within the anime community allows merit to rise above preconceptions. More importantly, these silos enable mutual support while keeping more controversial content contained within specific groups.
PS. The New York Anime Festival (NYAF) met its demise in its designated “ghetto.” The question remains whether its revival, sharing space with the New York Comic Con’s Artist Alley, will lead to friction. We will have to wait a few months to find out.
