With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ‘otaku’ to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ‘otaku’ appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ‘otaku’ by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ‘otaku’ in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ‘otaku’ in specific historical, social and economic contexts, providing new insights into the significance of the ‘otaku’ phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ‘otaku’. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ‘otaku’, at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ‘otaku’ to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ‘otaku’ appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ‘otaku’ by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ‘otaku’ in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ‘otaku’ in specific historical, social and economic contexts, providing new insights into the significance of the ‘otaku’ phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ‘otaku’. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ‘otaku’, at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ''otaku'' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ''otaku'' appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ''otaku'' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ''otaku'' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ''otaku'' in specific historical, social and economic contexts, providing new insights into the significance of the ''otaku'' phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ''otaku''. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ''otaku'', at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ''otaku'' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ''otaku'' appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ''otaku'' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ''otaku'' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ''otaku'' in specific historical, social and economic contexts, providing new insights into the significance of the ''otaku'' phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ''otaku''. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ''otaku'', at different places and times and to different people, is meaningful.

This book engages non-digital role-playing games—such as table-top RPGs and live-action role-plays—in and from Japan, to sketch their possibilities and fluidities in a global context. Currently, non-digital RPGs are experiencing a second boom worldwide and are increasingly gaining scholarly attention for their inter-media relations. This study concentrates on Japan, but does not emphasise unique Japanese characteristics, as the practice of embodying an RPG character is always contingently realised. The purpose is to trace the transcultural entanglements of RPG practices by mapping four arenas of conflict: the tension between reality and fiction; stereotypes of escapism; mediation across national borders; and the role of scholars in the making of role-playing game practices.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ‘otaku’ to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ‘otaku’ appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ‘otaku’ by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ‘otaku’ in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ‘otaku’ in specific historical, social and economic contexts, providing new insights into the significance of the ‘otaku’ phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ‘otaku’. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ‘otaku’, at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ‘otaku’ to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ‘otaku’ appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ‘otaku’ by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ‘otaku’ in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ‘otaku’ in specific historical, social and economic contexts, providing new insights into the significance of the ‘otaku’ phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ‘otaku’. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ‘otaku’, at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ''otaku'' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ''otaku'' appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ''otaku'' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ''otaku'' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ''otaku'' in specific historical, social and economic contexts, providing new insights into the significance of the ''otaku'' phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ''otaku''. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ''otaku'', at different places and times and to different people, is meaningful.

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term ''otaku'' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term ''otaku'' appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of ''otaku'' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of ''otaku'' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions ''otaku'' in specific historical, social and economic contexts, providing new insights into the significance of the ''otaku'' phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to ''otaku''. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how ''otaku'', at different places and times and to different people, is meaningful.

This book engages non-digital role-playing games—such as table-top RPGs and live-action role-plays—in and from Japan, to sketch their possibilities and fluidities in a global context. Currently, non-digital RPGs are experiencing a second boom worldwide and are increasingly gaining scholarly attention for their inter-media relations. This study concentrates on Japan, but does not emphasise unique Japanese characteristics, as the practice of embodying an RPG character is always contingently realised. The purpose is to trace the transcultural entanglements of RPG practices by mapping four arenas of conflict: the tension between reality and fiction; stereotypes of escapism; mediation across national borders; and the role of scholars in the making of role-playing game practices.