Japans Subculture and How Youth Creates Its Own Alternative Markets - Case Study Example

Otaku: Japan’s Subculture and How Youth Creates Its Own Alternative Markets Introduction Within a fluid-like nature of the contemporary society, a section of the Japanese youths has crystallized what scholars would refer to a kind of a subculture, popularly known as Otaku. Scholars have noted that this is one of the fast growing and so forms one of the largest subcultures in contemporary Japan. In a movie directed by Jeffrey Clark, a good representation of the postmodern society with the impact of Otaku subculture is presented (True Otaku Documentary). This subculture that was once disregarded has got the global attention and has hit the economic headlines with a fast growing competitive market share. The paradox that scholars have since raised is what distinctive feature has Otaku to make it spread so fast? How did it begin in the first place? What make Otaku qualify as a subculture distinctive from other similar group and groupings? An interesting and yet distinctive feature about Otaku as a subculture is the purchasing behavior of adolescents of this particular culture that marks it out of the many subcultures on the global scale ((Kitabayashi 12). The present paper seeks to trace back to the roots of Otaku and attempt to understand the various traits of this subculture. Again it highlights how Otaku influences contemporary marketing trends and consumer behavior from a global perspective. Finally this paper points on how the youth, who are the main proponents of this subculture, creates their own alternative market. Thesis Statement With advancement in technology, the fast accessibility of internet together with the populous growing media consumption, many different subcultures are born especially for the young growing generations (Niu, Chiang, and Tsai 713). Otaku, which can be considered a subculture that is popular among the youth and adolescents, was born in Japan. Rising from the great fans of anime, manga and fictitious materials, Otaku subculture is currently marking a global recognition and market especially among the adolescents and the youths (Kam 19). This fast global wide spread of this subculture raises curiosity to trace its originality in an attempt to answer the questions of how and why this culture has become quite a popular culture in Japan. Again it will also help understand why and how this culture has gained global recognition and how it has made it be a worldwide phenomenon among the growing generations. Meaning and originality of Otaku The term Otaku has its derivation from the Japanese word that referred to another house or another family. In the contemporary Japanese society the term is used to refer to a fan or an individual who has certain specialization in a particular topic, theme or hobby such as anime Otaku, Manga Otaku, passion Otaku, etc. (Ito & Okabe 23). Some scholars use this term to refer to anime fans or manga fans. However, away from the Japanese society, the term Otaku is used interrogatively in reference to any geek. In addition, to some scholars the slang Otaku could be associated with individuals who have an intense obsession with Japanese lifestyle, as well as their culture (Kam 21). Historically, Kam (152) in his work traced the originality of the term Otaku as it was first associated with fans of anime, manga, etc. who referred to one another as Otaku. To them, they considered the usage as an overly formal way of saying “you.” In similar following, some scholars have developed some theories to explain the originality of the term. Azuma (17) and Ito and Okabe (21) conceded in the theory that anime Otaku existed and participated in quite larger social networks where they traded goods and information. They both noted that despite the fact that those large social networks had many social contacts, the Otaku was however not particularly associated to any of them (Azuma 27). Additionally, the social transactions within the Otaku networks tended mainly to be impersonal, short lived and more of businesslike (Ito & Okabe 25). Again, another theory that was used in a more deprecating manner is the theory pointed out by Kam (153). To this author, the term Otaku was used to refer to the idea that Otaku never left their homes. This definition depicted a more stereotypical idea that Otaku was a term that was associated with badly antisocial group that is quite isolated from the rest of the world (Niu, Chiang, and Tsai 714). However, this contradicted the idea that it was a term used by fans to call themselves since the fans would often leave their homes to meet each other especially in the market places. A more generalized historical understanding of Otaku points to the definition as a term used by fans who are gathered as comic markets, fanzine meetings and all-night line parties just before anime movies releases (Ito & Okabe 27). Kam (157) in his study conceded that the usage of the term Otaku brings with it a strong conception obsessive liking for manga and anime materials. Further, a sociologist Miyadai Shinji defines Otaku in the words of Kam as a group of “youths who inhabit the worlds, provided by media such as anime and science fiction that substitute for reality” (Kam 156). To Kam, Miyadai argued that this immersion in alternative worlds represented a particular and unique type of personality. He referred to this particular personality as gloomy laggard. According to Miyadai, this personality represented those who have a kind of personality that often tend to minimize disappointments by withdrawing from areas that cause such disappointments or areas where such disappointments rise easily (Kam 156). Accordingly, therefore, regarding this argument, those who are associated with Otaku are but a manifestation of such personalities since they tend to withdraw from more active interpersonal relationships and even communication (Ito & Okabe 28). Notably, Otaku has gripped a considerable influence on its followers and lovers. Subsequently, owing to its strong influential impacts and global spread that the Otaku has on the Japanese youths grant it the crowning as a subculture. Thus, all those who are said to be the Otaku or associated with it have gradually been said to belong to a particular subculture. Since this subculture is said to consume lots of media particularly those of anime and science fiction, an attendant assumption would be that this growing culture has a distinctive breed of people divorced from the world of reality (Kam 159). Moreover, maybe as a response to why this popular subculture of Otaku finds its popularity tendrils concentrated among the growing generations and the youth, Azuma Hiroki (28), a postmodern philosopher, observed that Otaku represented a transition to post-modernity. According to him the rapid consumption of Otaku materials among the growing generation is but a response to the fast collapse of ideologies, religious, social and common values. These grand narratives characterized the period of modernity (Azuma 29); as such the values of modernity were on their rapid decline. In summation, Otaku subculture is but a representation of those people who are searching for effective stimulation within a system of society where the grand narratives are, but dysfunctional (Kitabayashi 67). As a subculture divorced from the world of reality, Otaku is quite unconcerned about the originality and authenticity of materials, since as Azuma pointed out that their preference to the anime character designs and settings to coherent plotlines. Again, at the expense of accurate elements that induce certain sensations, they often favor a particular style of speaking, stereotypical development of narrative or a specific curvature of figurines instead (Azuma 33). These summed characteristic form the founding database in the Otaku consumption (Niu, Chiang, and Tsai 717). In his analysis, Azuma further demonstrated that it is through the already existent knowledge of the database and its composite elements that influence commercial producers and fans in similar measure to engage in the production of the ‘Otaku’ culture (Kam 158). Otaku culture has the obsession with comics, animations, computer games and their rereading and reproduction of such in the form of fanzines, fan games and fan figures (Ito & Okabe 48). Moreover, Kitabayashi (52) ‘s reading of the philosopher Azuma, postulated animalistic symbolism of the Otaku culture to assume the Hegelian usage of animals to expound the idea of harmonious coexistence that animals have with the environment. From Azuma’s perspective as interpreted by Kitabayashi (53), Otaku subculture is a composition of individuals who like animals only have desires that they seek to gratify immediately. To him, animals stand in contrast to what philosophers call Hegelian human whom they characterize as having inter-subjective desires and thus will always demand the presence of other human beings for their well-being (Kam 160). According to Azuma, as argued by Ito and Okabe (49) Otaku symbolizes the whole episodic and dramatic process of animalization. This is because an Otaku eschew all other forms of narratives and meanings and somehow tend to favor those that stimulate the gratification of their desire and so stimulate their excitement. To achieve their end, they “decompose the already existing simulacra, only to reassemble them into new ones that provide immediate gratification (Azuma 36). As such Otaku does not generate meanings of their own but they retain a considerable similarity to sociality to exchange information on the database. From Azuma’s argument there rises an interesting feature of Otaku that with the collapse of grand narratives, Otaku constantly offers interpretation of the same database resulting from a more endless slippage from one simulacrum to another simulacrum or other simulacra (Kitabayashi 51). They do this maybe in order to reconstruct the meaning of the world to satisfy they lustful desire for the world of fantasy from which springs their excitements. In the present discussion of how this new subculture - that is gaining global recognition and following - seeks to use an alternative market, we cannot in any instance slip Azuma’s background analysis of Otaku under the carpets. Comparatively, the contemporary media consumption and the passionate feeling towards the consumption of media text and fan fictions present a favored argument for the reasons as to why this culture’s roots spreads this fast (Ito & Okabe 38). This media consumption has an immediate gratification of desire and excitement, characteristics of Otaku. The intense indulgence of fans to anime, manga, and games, as well as they, passionate desire to participate in the Comic Market, provides a fertile ground for the widespread of the seeds of Otaku (Kitabayashi 65). A culture would be identical to Otaku if the proponents adding to its composition have few similarities and so they forge their few similarities together to merge an identity. Regarding this, in his analysis of Okada, Kam (165) postulated that Otaku composition have few similarities that in a way are not easily and distinctly located to make it stand out from other groups. Distinctively however, this culture was born from a pieced together of Japanese culture(s) with the strong influence of technological advancement as well as the prosperous Japanese comic and anime market (Niu, Chiang, and Tsai 727) Characteristically, the many growing generations associated with Otaku have a unique obsession with collection and consumption of novelty as well as their compelling purchasing behavior (Azuma 48). The strong desire and obsessive tendency to collect anime, pop culture toys and books regardless of prices mark out Otaku culture from other numerous groups. A study done by Nomura Research Institute in 2005 as quoted by Kitabayashi (43) indicated that the fanatic purchasing behavior of distinctive preferences by Otaku drive mainstream marketing. With their fantastical excitement that Japanese manga, anime, computer games and all the related consumer electronic devices which mainly target the young growing generation have got a wide following even in the oversea markets (Niu, Chiang, and Tsai 728). This has contributed strongly to the wide spreading of Otaku culture. Otaku culture - as noted by many scholars who have studied the peculiarity of this mushrooming culture - has a great fellowship among adolescents and youths since during their development social environment contribute a lot in the cognizance of the social values Kitabayashi (52). Furthermore, Isaksen and Roper (2008) as quoted in the work by Niu, Chiang, and Tsai (162) postulated that marketing and advertising methodology used by direct consumable producers have a strong likely effect on the formation of self-conception and consumer behavior of adolescents. Concurrently, therefore, the contemporary media and internet consumption directly and hugely influences the consumer behavior of adolescents. This affirms what the Japanese cultural researcher Okada posited assertion that Otaku was a kind of advanced life form composed of media-savvy individuals endowed with superior sensory faculties (Niu, Chiang, and Tsai 167) A study on exploratory purchasing behavior done by Ito and Okabe (23) indicated that the consumers in most cases seek excitement more of their sensory needs than physical needs. In other words, the driving force behind their buying behavior favors more the gratification of the sensory needs of direct consumers. This emotional impulse suitably fits the adolescents whose consumer behavior includes a disposition to explore and venture new experience and novel environments respectively (Azuma 62). This also explains why Otaku culture has got the better part of the adolescents and youth, or more generally a growing generation. Additionally, according to Kitabayashi (67) the theory of exploratory buying behavior also includes the ability of taking great risks as well as being innovative while making purchases. Again it includes the attitude of always seeking the variety, brand switching, information seeking, purchases based on curiosity fulfillment as well as communication with more experienced buyers ( Kam 173). Quintessentially therefore, the main congenial to the noted consumption approach among the growing generation are the advanced digital culture, cult of innovations which are practically popular in Japan as well as the modernized communication and lifestyle patterns in the postmodern societies (Ito and Okabe 54). Typically, Otaku is creative consumers who prefer a virtual living to real life, forming cyber-communities who consume a particular product and so share a commonality. The result of such virtual relationships is what (Keliyan 95) call creature of the net cultures who are more in favor of virtual communities and so tend to shy off the real one. This adds to the reason as to why these youth seek more of an alternative market since they prefer a virtual world to a real one. The Otaku makes use of their creativity and innovativeness to create new direct consumable products and advance the already existing ones. Consequently, their innovativeness and creativity influences greatly the industrial producers and traders and so influence the marketing trends of certain products with a wide range of preference among the adolescents and the youths. As such, Otaku’s tendency can be designated as 3 C’s which according to Ito and Okabe (113) literally are Collection, Creativity and Community - which practically is virtual in the strict sense of the word. Accordingly as observed by Keliyan (98) Otaku stimulates industrial innovation and production while at the same time as a consumer community they create a rich market for the very innovations they have created. Through this, there is a strongly likely that as the consumer base for these new products enlarge, so is the Otaku culture. This creates an interesting mutual synergy between the existing Otaku and the outside world which buy these products oblivious of the innovative mind behind the created products. As noted earlier, the crazy and obsessive consumption of new products driven by the desire to collect more preferred products have made producers always to adapt to the ever-evolving needs of the consumers (Kitabayashi 33). As such the producers tend to study the innovation by Otaku, and then they design and redesign their production accordingly to meet the fluid mass consumers. Thus leads to what we stated earlier that Otaku contributes majorly in the driving of mainstream marketing and economy of Japan as well as global regions where this culture is having roots (Keliyan 109). Notably, Otaku plays a central economic role as well as maintain, grow and flourish the market that has been around it. In addition, Azuma postulated in the writings of Kitabayashi (105) that ever-shifting consumer behavior of this particular culture has a linkage in their strong participation and involvement with other fan communities. This in a way has a gradual impact on Otaku’ specificity tend to dissolve and thus Otaku loses its original identity with time (Keliyan 105). Like other subcultures, otaku demonstrates a postmodern power relationship between the existing cultures and subcultures with Otaku strongly influencing and modifying existing cultures or other subcultures (Keliyan 106). Following this Niu, Chiang, and Tsai (758) observed that the large consumption patterns and lifestyles led by the youth’s subculture like Otaku often have an always increasing influence of the large consumer pattern. As such Otaku consumption style have great influences on the Japanese consumer society, so immense than that it can admit (Azuma 63). Akihabara district, is a good example how Otaku can influence the already existing culture and market. Akihabara was once popularly known to be a domination of wholesalers has since become a thriving hub for Otaku culture. It has become a place where individuals with fanatic obsession of electronic appliances and devices (Ito & Okabe 93) get their consolation and fulfillment. Additionally, the various shops that give attention to Otaku have also risen up particularly those handling anime character merchandise and manga fan fictions. In his paper, Kitabayashi regarded Otaku as enthusiastic consumers after a survey conducted by Nomura Research Institute revealed that Otaku has a market size of 290 billion yen. As an enthusiastic consumer, the Otaku consumption is mainly driving by their obsessive admiration, sympathy and strong impulse to pursue novelty and ideals (Kitabayashi 167). This consumption behavior creates within an economic world a fertile ground for productivity and sale. In addition, as was noted earlier the passion and creativity that characterize this culture also wheels up to speed productivity bringing up industrial innovation. Marketing strategists must, therefore, be able to adapt to the dynamic demands so as to constantly produce relevant preferred material for the already existing market with the Otaku culture (Niu, Chiang, and Tsai 719). The growing market for Otaku culture has been flourished by the strong pull demonstrated by the lifestyle of the adherents as well as the pull to get associated with Japanese culture. This wide following creates and widen the already existing Otaku materials as well as their markets (Kam 189). And again the number of enthusiastic consumers of each major Otaku field is growing by day, and this widens the consumer products to meet different consumer preference. According to Kitabayashi (27) the major Otaku fields that have since attracted huge following include animation, comics, idols, games and PC assembly. Notably, each of these fields has or creates its own following in the market space offering avenues for alternative markets for Otaku culture (Keliyan 96). For example, comic market attracts enthusiastic consumers who apart from reading the published commercial comic magazines and books, also creates their own unique secondary products as well as participate in the fanzine. They also contribute by publishing fan fiction based on the characters and storylines and world view or opinion seen in the comic productions (Azuma 227). The animation market relies heavily on the computer literacy and the technology to reach a wider market space. Animation enthusiasts use their creativity to develop animated movies or TV programs for the gratification of fan lovers Kitabayashi (128). Kam (183) also noted an important point worth cognizance, when he stipulated that since the consumer behavior of Otaku adherents is mainly driven by the obsessive passion for novelty and ideals, the price elasticity that depends on the level of consumption, therefore, declines to the minimum. However, this price elasticity vary within a very short span of time, in the sense that after a decline, the price often rises incredibly to the extreme after a short while (Ito & Okabe, 302). This elasticity makes the adherents use almost all of their disposable resources in the pursuit of collecting the Otaku materials depending on the preference. It is worth noting the creativity and the creative activities of Otaku enthusiastic consumers channeled properly as symptoms of creative and innovative minds at work (Niu, Chiang, and Tsai 723). Given a proper nurturing, the various products developed and the concepts created by Otaku adherents can help achieve industrial innovation. The consumer behavioral pattern reflected by the passion for novelty driven, also contribute a lot in the content industry by that expanding the production industry. However, it must also be observed that the dynamic nature of the demand that needs satisfaction especially in this always ballooning market space, there is a slight possibility that quality may be compromised in a way (Niu, Chiang, and Tsai 715). From a commercial perspective, Kitabayashi (279) agreed with Kam (111) that control measures should be in place in always keeps in check the content production and supply. As such production companies should also review the features of the products and services to see to it that there is no compromise. A compromise in the line of production is a possibility in marketing as admitted by Ito and Okabe (157) since when there is a high and dynamic ready market for consumer products, producers will always try to stretch over to satisfy this demand. In the process, a slight compromise on quality may result. Conclusion Conclusively, therefore, Otaku is a term used in reference to fan lovers particularly those anime, manga, games, etc. The same term can be used to refer to those who have an obsessive liking for Japanese culture and lifestyle. This particular culture has got a huge global following among the adolescents who would prefer a virtual and fictitious kind of lifestyle. As such the adherents of this subculture are greatly influenced by the great advancement of technology as well as the fast accessibility of internet. Media consumption also contributes greatly the development of the consumer behavior of this subculture. Notably, Otaku subculture has an obsessive consumer behavior that creates a huge market for electronic devices and so contributes to the economy of the country where Otaku has got following. Distinctively, the creative nature of the lovers of Otaku also contributes to the industrial innovation. This characteristic of innovation is born mainly from the obsessive desire to collect and own novelty by the lovers of Otaku. Noteworthy therefore, Otaku is spreading very fast through the various media as so soon it would be consumed globally on the large scale. Work Cited Azuma, Hiroki. Otaku: Japans Database Animals. Minneapolis, MN, USA: the University of Minnesota Press, 2009. ProQuest Library. Web. 27 January 2015. Ito, Mizuko & Okabe, Daisuke. Fandom Unbound: Otaku Culture in a Connected World. New Haven, Connecticut: Yale University Press, 2012. Print Kam, Thiam Huat. "The Common Sense That Makes The ‘Otaku’: Rules For Consuming Popular Culture In Contemporary Japan." Japan Forum 25.2 (2013): 151-173. Academic Search Complete. Web. 27 Jan. 2015. Keliyan, Maya. “Kogyaru and Otaku: Youth Subcultures Lifestyles in Postmodern Japan.” Asian and African Studies XV, 3 (2011), pp. 95–110 Kitabayashi, Ken. “The Otaku Group from a Business Perspective: Revaluation of Enthusiastic Consumers.” NRI Papers. 84. Namura Research Institute. 2004. Web. 3rd Feb, 2015. Niu, Han-Jen, Yung-Sung Chiang, and Hsien-Tang Tsai. "An Exploratory Study of The Otaku Adolescent Consumer." Psychology & Marketing 29.10 (2012): 712-725. Communication & Mass Media Complete. Web. 27 Jan. 2015 True Otaku. Dir. Jeffrey Clark. USA. April 24, 2014. Film. Accessed at Read More