UlasanAnime.com – Following a discussion with Mystlord in the comments section, the topic of fan expression was explored. This naturally leads to a deeper dive into the concept of fanaticism within today’s fan base.
There’s a strong argument to be made that creative expression, in terms of its quantity, quality, and nature, can serve as a significant indicator of one’s fanaticism. Furthermore, the mere act of participation in such expression can signify a sense of identity. However, while self-identification through actions is possible, it doesn’t necessarily provide a reliable measure of fanaticism.
For instance, attending a convention and wearing a Naruto headband doesn’t automatically qualify someone as a cosplaying otaku. The author personally believes the threshold for being an “otaku” is set much higher than such superficial actions suggest.
While a definitive answer remains elusive, it’s undeniable that consumption itself is a form of expression. Although not always creative, consumption can certainly spark creativity and become a primary motivation for creation. The existence of sites like BakaBT, for example, is a direct result of this consumption-driven impulse.
This drive for consumption is also at the heart of the ongoing fansubbing debate among anime fans. It fuels their efforts to actively “save the industry,” as seen in initiatives like the pro-industry site launched by fans. In a sense, the industry itself is largely an artifice of consumption, primarily functioning to translate and retail content at a more accessible price point.
Consumption is the reason for concepts like the “Anime Diet,” and it explains why fans meticulously track seasons or watch series like Hidamari Sketch according to their annual calendars. The old mantra of “Anime: Drugs are cheaper” perfectly encapsulated the mindset of overseas anime otakus, highlighting the affordability and accessibility of anime as a form of consumption.
Interestingly, a significant number of fans prioritize the legitimacy of their consumption, even when it has little tangible impact on the actual quality of the content. This could be attributed to various factors, including the influence of pure fanatics who express their devotion through what could be termed “moral faggotry,” which itself is a manifestation of fandom and fanaticism.
As more individuals opt for low-quality video streams online, relegating expensive, high-fidelity home video releases to a niche community, it signals a broader trend observed across various fandoms: the number of “otaku” is diminishing percentage-wise, echoing observations made by comedian Patton Oswalt. This trend is particularly notable when discussing genuine American otakus, rather than the culturally appropriated term applied to fans in general.
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Secondly, anime is characterized as a highly commercialized fandom. Many fandom studies focus on niche enthusiasts who often turn to fan-created activities due to a lack of commercially available content to satisfy their specific interests within a particular franchise or niche. For example, the sheer volume of Naruto-related merchandise alone caters to a vast portion of fans through its commercial spin-offs, with even something as simple as a headband being a licensed product.
This commercial saturation extends to Japan’s extensive network of pro costume shops, retailers like Mandarake and Melonbooks, maid cafes, escort services, and themed events such as the Love Plus tour in Atami or the Washinomiya shrine’s New Year specials. These outlets represent countless avenues for consumer-driven fan expression, demonstrating how pop culture fanatics are commercially exploited to a greater extent in Japan than in America.
While American enterprises also make significant efforts, Japan appears to place a greater emphasis on catering to niche fanatics and their specific preferences, in contrast to America’s more mass-market approach, epitomized by Halloween costumes. The author questions whether a Harry Potter theme park holds more or less fanatical appeal than interacting with a Disney Princess at a themed restaurant in Disney’s Magic Kingdom, suggesting that anything warranting a major Hollywood movie spinoff should qualify for similar treatment.
All these examples, to varying degrees, represent modes of consumption. While one might be excused for making a costume from scratch, it’s worth noting that some forms of consumption are inherently creative, and like most human endeavors, can be driven by mixed motives.
Returning to BakaBT, the “collector’s curse” – the urge to splurge on special limited editions with seemingly useless trinkets – is often intertwined with fanatical devotion. However, more frequently, it stems from a conditioned response to the “gotta catch them all” compulsion ingrained in many after years of being trained as expert consumers. This can be seen as a subset of perfectionism.
As previously stated, these actions are not definitive indicators of being an otaku. They are merely examples of competencies, and understanding the underlying reasons for consumption is a core competency for an anime otaku. Without grasping why enjoying anime in its “proper form” is preferable, one has a considerable journey ahead on the path to becoming a true otaku.
