Identity Crisis, what does "Otaku" mean?

The label of “Otaku” and what it means for community and industry.

For the sake of clarity let’s just stick to the strictly American definition of “Otaku.”

Long ago, there was a Ninja Consultants podcast which asked if one of the hosts, Erin, could be both a hipster and otaku at the same time. My answer was yes, but thanks to the late hour of the recording session (and totally not because of that vodka I drank), I wasn’t able to articulate why I came to that conclusion, even though I was the only one who thought so. Recently I had a little epiphany about how to correctly explain how one can be a hipster and otaku at the same time. My inspiration came from an incident about a week ago, where I was actually able to spot a purebred douchebag in the wild.

A Douchebag in the wild. Crikey!
Mmmmmm, smell that TAG Body Spray.
The train was moving, so the photo isn’t great... but still, just look at that.

From the retarded looking sunglasses in the subway, to the sneakers that are trendy enough to get into the night club, this guy had the whole d-bag gambit covered. Energy drink, hoody under a sport coat, stupid hair, giant ring, and the date-rape apology flowers, all combine to make this an amazing find so far from Jersey Shore territory.

“Hipster” is basically the same, a hollow vapid set of criteria that are the result of specific and quantifiable brand profiles and manifested marketing matrices in the deliberate choices in outward appearance and social activity of the individual. Though the Hipsters themselves will tell you the opposite and insist that they are so indie that their shirt don’t fit. They project this outward appearance and subscribe to a limited set of behaviors because the commercial media they consume has told them to. The true irony of the term “hipster,” is that it singularly describes a very specifically defined market demographic cluster.

“Otaku” is not like that. While “Hipster” and “Douchebag” define specific singular groups defined by the multiple aspects they project, “Otaku” labels a diverse group unified only by a singular activity of liking anime and manga. So “Otaku” is too diverse and too broad to be an effective target of concerted marketing efforts. This is not to say that there is no top of the pyramid within this group, just look at anime conventions. But even at these conventions, while the lion’s share of attendees do fit into a rather narrow demographic set (age and so on), if you really look at who’s there, you’ll see many different clusters which respond to very different marketing.

It is impossible for Otaku and Hipster to be mutually exclusive, because the defining activities one can engage in to be both to not conflict or cancel each other out. So although it’s very possible to be one and not the other, this is not a zero-sum situation, much in the same way that people of the same ethnicity or nationality can be different religions.

This isn’t “indefinability” or even “intangibility” that makes Otaku a valuable thing that can’t be fully penetrated by commercial marketing mechanics, but rather this quality of formlessness (yeah, I know all those words are next to each other in the Thesaurus). "Otaku" as a phenomenon is like water, in the sense that it takes the shape of whatever vessel it’s in, and so as a business, you’re marketing to that more definable vessel, not the Otaku-ness inside. This is why Apollo Smile and similar creations have failed in the past. The imagined target cluster is actually a combination of other clusters that have a more dominant role in customer behavior. This was the true source of that flavor of disingenuous which seemed to cover everything that Apollo was. Much like the buzzword new media marketers will talk about "organic brand creation," the only effective brand ambassador entities that can be called “Otaku” are ones that come from bottom-up and not top-down. Being an otaku is going to be a lot less fun if that quality is ever taken away, since the obvious logical thing it’s going to turn into is “Weaboo,” a terrifying prospect to say the least. But like the term “Hipster,” “Otaku” is sometimes intentionally used when describing one’s self, and also deliberately not used by other people, so it's got that going for it at least.

Again, all of this is prefaced on my own definition of Otaku for this particular case, which is not the Japanese definition (which is horrifying) and of which there exist English speaking examples like this freak here. (That link is dead because the nutjob who made it got all butthurt, but you can see bits of it here ... the crazy starts about 1:45 in).  He's obsessed with a jpop star he'll never ever be in the same room with). Yes that’s real and yes that’s 11 kinds of messed up. I would define “Otaku” here as a combination of media consumption habits, accumulated knowledge, and some other stuff. I hesitate to get too far into defining it with quantitative measurements, which leads to the problem I just mentioned of what happens of Otaku loses its portability between other groups. That is the strength which keeps this term out of the realm of being a commoditized managed-brand, and as much as I like business, I am happy to leave “Otaku” right where it is, an intangible product of the collective identity of fans.

See, an Otaku can have this in their office, and Hipsters don't work in offices (they write indie music while keeping the beard hairs off of their ironic ipads while being noticed by other hipsters and the occasional member of the stroller mafia at coffee houses). ...actually, I don't know what happened to this thing... it's gotta be around somewhere.
- I actually did have a much more thorough written explination with some ven diagrams based on actual data from icv2 and some Japanese sources, along with trend and perception mapping... but then I realized that that's giving it away for free. So if you want them, I'll send them your way when the check clears.

Convention Season

For those who have been doing this long enough to remember when “Anime USA” was just a glorified Halloween party, you may remember a time when the “anime convention” was quite a different animal. As has been said before, there is a feeling of nostalgia that many in my situation feel for the “old conventions” which is genuine but also to a large extent more or less fabricated by those of us who look back to a bygone era through rose tinted non-digital photographs.

Obligatory Apollo Smile photo for Daryl Surat

Left to Right: Marvin Gleicher of Manga Ent., Mike Pascuzzi of CPM (later of Media Blasters), Apollo Smile, Scott Mauriello of Anime Crash, and Chris Parente of Anime Crash (owner and senior partner).

You found this blog because you Googled "Apollo Smile" didn't you...

As “con season” approaches, the massive amount of things going on seem to almost overload one’s ability to plan for a fun filled unabashed wallowing in fandom turning thoughts of summer into a “left behind” scenario of pseudo-panic. The old names that have survived have evolved into such teaming masses of attendees, that a theme-park feel (complete with long lines and annoying people from Middle America) has asserted itself as an inescapable pervasive entity firmly entrenched over many years of quite surprising growth. This massive proliferation of mass attendance at conventions with long-standing histories and the appearance of many smaller satellite conventions themselves is almost exclusive to anime. Looking at other events, one sees the same thing twenty years later as they do now with long running shows such as i-con or Big Apple Comic, which seem to operate as if forgotten by time.


The question which occurs at this point is does the door swing both ways? Is it possible to see a rapid decline in the same recent tradition of rapid growth enjoyed by anime conventions? It is important to note, that unlike other consumer based conventions, which revolve around specifically printed media, or meeting individuals like authors and actors, the anime convention has gone from a gathering who’s main goal was perhaps to watch anime titles that were new to the public or otherwise hard to find, to an event where the antics of the fandom itself are the main backbone of programming. Conventions have become large social events but the need to provide what they used to provide outside social activities, such as anime screenings, rare dealer’s room merchandise, and so on have all been proliferated via the internet and so a central event to provide such things is now unnecessary. This leaves anime conventions as nothing more than themed social gatherings, unless some other type of activity starts happening there. For a while it appeared as if actual anime business was going to start happening at the larger ones, but the way things are going now, it’s more likely that all that licensing that was supposed to happen is going to go scurrying back to MIP where it’s always lived. In fact, the devaluing of anime as a license which comes from fansubbing will probably lead to a decreased ability of conventions being able to afford the kinds of facilities that they have used in the past (Geneon won’t be buying all that floor space this time will they now?), based on the fact that exhibitor companies won’t be spending as much as they used to simply because of their shrinking revenues from the abysmal DVD downturn from which there is no end in sight.

In addition to all that, enter now the new animal. Sleek, for-profit, professionally run destination events like New York Anime Festival and Comic Con, which can change revenue formats from door-based to exhibitor based in a single year if they have to. Anime and Japanese pop-culture in general has become such an important part of American entertainment that Comic Con gets TM Revolution as a major guest. American comic shows used to be (and many in the old style still are) like kryptonite to an Otaku, and a celebration of everything that drove us away from the tacky, badly drawn domestic entertainment media we loathe. But that’s now a thing of the past in more areas large enough to support this new kind of corporate convention event, where content is king and paid employees rarely drop the ball.

Anime Convention Trifecta now in play, and completed with the last of the three kinds of anime conventions, the “hotel con.” I often vacillate between not liking these things because they are exercises only in frivolity and do not advance the fandom as a whole or the industry much, and thinking they are a very important component of the continuing development of a market and lifestyle that is ever evolving. I often think that if cataclysmic change rocks the convention world, that these humble little conventions will be the true survivors and keep alive the kinds of things that seem almost second nature to a conventioneer.


There is now a divergence, based around different groups who in reality would rather not share convention space with other groups. The upcoming convention in Providence RI that restricts entry to those only over 21 is one of the new breed of boutique conventions that serves a specific group within a fandom that is so large, normal demographic rules now apply, and the forced unity that was made prevalent simply because of a feeling of being surrounded on all sides by a community that failed to understand the otaku appeal, is no longer omnipresent and so the disunity that comes with all things at this level is forcing this new evolutionary step.



In most of the outcomes the possible rippling effect that the downturn of the U.S. Market might have on anime, the convention is probably going to be one of the last segments to feel the negative effects, which would mean a decrease in available material, but would that translate into a marked decrease in actual attendance? That alone is probably not going to be able to cause such an effect, but if coupled with a potential downturn in the popularity in general of anime in a post-Naruto world (it can’t go on forever) and the possibility for a non-profit large con to experience a single year of epic fail from poor planning, make a Bermuda Triangle that conventions as we know them today will have to navigate through in order to continue doing what they do.

I am still waiting for the American convention that restricts cosplay to one specific area... (they already do that back in the source country... you know the one I mean).