Wherein your correspondent tries to write something two weeks after my emergency surgery for something nasty that almost left me blind in one eye. Fortunately all went well and I will not have to wear an eye-patch for the rest of my life. Still a bit cross-eyed though, which makes reading and writing a headache. Hooray for Canadian socialized medicine! Sorry, no massive theory post on fan production and distribution yet…
Instead, a quick ‘n dirty review of
by Saitō Tamaki
Translated by Christopher Bolton, Introduction by Kotani Mari
In “Robot Ghosts and Wired Dreams : Japanese science fiction from origins to anime” – Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi, editors. pps 222-249.
The oblique intro:
I need a manga or a visual novel with an odd plot so badly that I am tempted to learn Ren’py and make it myself. I need a set of adopted twins, boy and girl, home-schooled in Japan, and raised by a very rich odd couple; a gay captain of industry who is “papa” and a pre-op trans woman “mom” – this little just-so story plot twist ain’t tooooo far out – except that the only news reports I have heard about in Japan involve couples where both parties were originally women.
Much later: this reads as ill-informed and at the least inelegant: Real world transitioning folks in Japan still face substantial discrimination and hassles. See: “Woman waging lawsuit to eliminate prejudice against gender identity disorder”, By CHO TSUIN, October 30, 2014 at: http://ajw.asahi.com/article/behind_news/social_affairs/AJ201410300009
Anyways, the “parents” are only a plot device for the kids: I need to redo Rousseau’s Emile, and put the boy and girl genius twins in first year university psychology class (let’s call them Emile and Emilia, or Mike and Michelle V. Smith), because I am sick to death of reading pop psychology that is %98 coherent, only to run time and time again into Freud’s mumbo-jumbo castration theory of sexual development and the origins of desire.
It is like finding out that your favorite theorist or singer or actor is also a member of a nut-bar cult.
It needs to be whacked, but good, if only in fiction.
I guess Varley (viz: Steel Beach) and before him Delany (try Triton) have touched on this before, but they never ruined a story by hammering home the point, so a crude low-grade preachy plot device tale may be in order, if only as a great opportunity for some low comedy.
I want the twins to calmly point out in psych class that they must either be gods or demons, because everyone else has such quaint ideas about sex and desire, and this must be because their “mom” “had one”.
It has to be twins because “I can’t believe etc” and we need both male and female variants for the thought experiment. And for extra plot mojo, the only odd thing that mom and dad taught them was how to fight ZOMBIES!
Otherwise they are well-adjusted, open-minded, sociable and not too hung up on secks, though of course they do tend to stick very close to each other…
On second thought, they would still be patriarchal constructs. The story needs a set of opponents; the other set of “new-family type” twins at the university: studious, hardworking, student government rule sticklers, raised by two hard-working lesbian moms. Of course they resent the heck out the easy-going rich kids, Freudian voodoo theories notwithstanding.
Hey! Shimoku-sensei! Are your editor’s minions getting the translated weekly intel sheets to you? This is a winner. C’mon! this should be easy for someone who came up with “Ramen Angel Pretty Menma!” My gift for all the Genshiken I have read and avoided paying for… OR maybe I can give it to the creator of Franken Fran.
Come to think of it, this is probably the reason for the western conservative right-wing nuts’ abject horror over the idea of gay marriage, So a Del Rey licensing deal is in the bag!
Which is by way of introduction to the work of prof Saitō Tamaki, or at least the most accessible bits of it available to us heathens in the chapter on Otaku Sexuality in “Robot Ghosts and Wired Dreams : Japanese science fiction from origins to anime – Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi, editors. Ch 11 pps 222-249.
And an introduction to my main complaint about it.
MUCH LATER: Duh! I ended up hypothesizing a pale imitation of the 1990’s era manga (and later anime) Family Compo [http://tvtropes.org/pmwiki/pmwiki.php/Manga/FamilyCompo] which featured an impossibly sweet trans* family and their recently almost-adopted teen relative. The daughter however has been gender-fluid all her life. She currently likes being a girl, but buddy boy can’t figure out if she is really a she, or if it matters. For an artifact, it is fairly respectful, though full of anachronisms and idealized crossdressing +/or trans* stereotypes. No moe-blob drawing either.. Wow!
Perhaps you have read my previous posts, where prof Saitō is quoted by other writers as the prime source for the idea that Japanese otaku display extraordinary self-control in keeping their fantasy lives separate from their real lives. As this is one of the main plot tensions in Genshiken, and because early reports of his work tended to explain this characteristic in a very odd way, I thought I should track a sample of his work down, and this version is prof. Tamaki’s own updated Cliff notes for westerners. The article is well worth the read. As a bonus, we get some updated musings on fujoshi sexuality as well. As a non-bonus, we get something scary.. (NO! not Astro Boy!!!!)
Much to my surprise and relief, there is no trace of Nihon-jinron essentialism anywhere in view. Perhaps the original oft-mentioned “Japanese culture isn’t big on platonic ideals” thing was a misreading, or early conjecture that was dropped. Prof Saitō gets street cred for inventing the term Hikikomori and has spent lots of time dealing with social isolates and obsessives of all stripes. While he is sympathetic to Japanese fans, his opinions carry a great deal of weight in popular Japanese discourse on the extremes of fan behavior.
“Prejudices about otaku based in ignorance have circulated easily for some time, even in my own field of psychiatry. One typical (mis)diagnosis is that otaku have a schizophrenic personality disorder. (My own opinion is that otaku clarify the limits of the very concept of personality disorders, but I leave this argument for another time.)
Perhaps this kind of misunderstanding should be seen as a symptom of psychiatry’s shift from a participatory activity to a system of observation. I would not go so far as to identify myself as an otaku, but my correspondence with the young people described below has led me into a rather profound relationship with this world—certainly beyond what I could call fieldwork. For all of these reasons, I feel that this record of my observations may have some clinical significance at the present time.
In 2000 I published a book titled Sentō bishōjo no seishin bunseki (Armored cuties: A psychoanalysis). The title names an icon that has enjoyed tremendous popularity in Japan, particularly in manga and anime— the sentō bishōjo. Literally this means “beautiful warrior girl,” though the translation I prefer is “armored cutie.” It seems to me the popularity of this strange image is virtually unique to my country. Many Western series, from Alien to Tomb Raider, feature fighting women, but they are almost all Amazonian women. Until recently the West had almost no works that featured girl warriors in the kindergarten or elementary school range. How did these sentō bishōjo come about, and how are they consumed? My book posed a series of questions along these lines, and I believe it was able to point the way toward some answers. And since it was the otaku who were most in love with the icon of the sentō bishōjo, this book also had to describe the otaku in some detail.
In 2003, as a kind of follow-up and expansion on the arguments in Sentō bishōjo no seishin bunseki, I published a book on the linked motifs of adolescence, media, and sexuality titled Hakase no kimyōna shishunki (The doctor’s strange adolescence). The present chapter is adapted from material in that latter book, particularly the second chapter on otaku sexuality. It summarizes many parts of the argument in Sentō bishōjo no seishin bunseki, though it skips some of the introductory description, for example, on the origin of the term otaku and the evolution of its use. And it goes beyond the earlier work in elaborating my arguments about the issue of sexuality and fiction.”
As you can see, he also posited the “Beautiful Fighting Girl“ as trope/ concept, and has a certain understanding of, and sympathy with his subjects’ enthusiasms. So a reader should pay attention; there is going to be good stuff here. take for example his definition of Otaku:
“It may be true that otaku have certain distinguishing features of appearance, but criticisms of these things amount to nothing more than personal impressions. If a critique never moves beyond these kinds of impressions, the critic will never escape the trap of narcissism; in other words, these criticisms simply reveal the means by which the critic sustains his or her own self-love.
This is the first difficulty with theorizing otaku: from the outset all these theories (sympathetic and unsympathetic) have been exposed to these impressions and value judgments. So my own approach here will be to avoid value judgments as far as possible and try to describe the otaku formally. My descriptors for otaku are as follows:
• They have an affinity for fictional contexts (kyokō no kontekusuto).
• They resort to fictionalization in order to possess the object of their love.
• They have multiple orientations when it comes to enjoying fiction.
• For them fiction itself can be a sexual object.”
Two things jump out: the libidinization of Otaku desire (Helllooooooo! Genshiken!) and the deft pre-emptive swipe at any critics which echoes my fave reason why one should be very careful insulting people – it only reveals to the whole world what is in your anxiety closet. Myself, I am afraid of simple, stupid answers, I guess because I am prone to them myself.
As a short digression on Japanese fan desire, his essay misses some of his more interesting ideas about manga style and visual conventions that are presented in his “Beautiful Fighting Girl” (V1.2?), as updated and translated in 2011. Here from the Mechademia review by Nina Cornyetz (http://mechademia.org/reviews/nina-cornyetz-review-of-beautiful-fighting-girl-by-saito-tamaki/)
“I think Saitō’s book is best when describing manga as a specific semiotic system characterized by “atemporality,” “high context,” and “multiple personality space.” Atemporality refers to the subjective rendering of time, or the suppression of chronological time in the anime/manga diegesis.  “High context” refers to how sets of semiotic codes specific to cartoons and animation are layered one over another, to construct a visual space that is “excessively overdetermined in meaning and highly redundant.” Saitō surmises that this multiplicity of monologic codes characteristic of manga resembles that of a person with multiple personality disorder, in that individual characters are partial and incomplete.”
Or to put it simpler, Japanese visual culture assumes that you will pay attention, pick up the hints as the story progresses and doesn’t spoon feed you as much as North American pop culture narrative. Cornyetz also has a bit of a problem with the Lacanian jargon – not for its density, but for its suitability to the task of deconstructing the genre. For now, Otaku Sexuality gives us the “lite” version of most of Saito’s favorite themes:
“…But all of the above are also seen to some extent in the mania of other fans. The behavior that sets otaku apart is the act of loving the object by possessing it. For example, the largest of all otaku events is the Komikku Maaketto (“comic market”), abbreviated as Komike in Japanese and held twice a year in August and December. Here, hundreds of thousands of otaku (many dressed as their favorite manga and anime characters) gather to buy and sell independently produced comics called dōjinshi. Just attending Komike is a crash course in the world of the otaku.
Dressing up and producing these dōjinshi comics are among the activities otaku must participate in to maintain their credentials, something that sets them apart from run-of-the-mill fans. Over thirty thousand groups produce and sell their dōjinshi at Komike, and most are second-order texts, that is, takeoffs on well-known manga and anime. I believe dōjinshi are significant because they constitute an otaku “rite of ownership,” whereby the fans take the works they love and make them their own through the act of parody, which is to say by fictionalizing them even further. Dōjinshi are one crystallization of this activity, though more recently Internet mailing lists and discussion boards have also become sites for publishing independently authored stories. In venues like these that are more text-based than the visual dō jinshi, participants contribute “SS”—original short stories or “side stories” with characters and settings borrowed from favorite works.
The most popular among the dōjinshi are the pornographic parodies in the “eighteen and over” genre. It is easy to hold these works up and proclaim disgust with the otaku, but unless one can overcome this visceral dislike, it is impossible to perceive the otaku’s true nature. As my list of otaku descriptors indicates, the issue of the otaku is one of sexuality, and it is this genre that displays their unique qualities in distilled form. It is not easy to locate a sexual object in fiction itself: that represents a taste for something far more direct than we see in the fetishism of ordinary fan manias. Many otaku actually have imagined sexual relationships with their favorite manga and anime protagonists, and masturbate to these fantasies.”
From this we get a natural digression into loli-smut and the first hint of the fantasy is fantasy/ reality is reality division, with the obligatory reference to that infamous otaku child-murderer, and the observation that he has not been followed by hordes of imitators; so perhaps otaku are under-represented as violent deviants in general society. It is the “normal” drunk salaryman who gropes the pretty lady, Train Man saves her.
Comike(t) also gives him a chance to introduce fujoshi activity:
The first thing to point out is that the producers and consumers of yaoi texts are overwhelmingly women. The majority of participants in the Komike comic market are women (contradicting the idea that otaku are mostly male), and the majority of those female participants are yaoi aficionados. Certainly, the number of gay men producing or consuming these texts is virtually nil. If the desires of yaoi authors are directly reflected in these texts, then how should we characterize their sexuality?
Clearly, it represents a set of desires that cannot be described in terms of the psychoanalytic theory that has defined perversion (tō saku) up to now. What is significant here is again the fact that the imaginary sexual lives of the yaoi crowd are totally separate from their everyday sexual lives. Some contend that one should investigate sexuality by considering actual sexual activities, but I have always argued that today the real or the actual is something layered, something increasingly devoid of any firm foundation. In this situation, fantasies may in fact be the most appropriate material for investigating sexuality. More pointedly, real sexual acts are far too much of an admixture to consider when analyzing the structural aspects of sexuality.
Here, the fact that yaoi fans (yaoi aikōka) and otaku are sexual late bloomers actually works in our favor: because they are unacquainted with the realities of sex, they can pursue these sexual fantasies in a purer form.
On the matter of fujoshi desire (and note that he explained in the work, that he avoids the term fujoshi), Saitō relies of the testimony of a noted, eloquent producer yaoi. But wait: keep watch on the text – the great Freudian signifier is about to pop out, like something through a hole in the screen from an Ishihara novel…
“Enomoto Nariko is a figure who sheds considerable light on yaoi fantasies and sexuality. She is the author of the popular manga Senchimento no kisetsu (Sentimental season), serialized in the weekly comic magazine Biggu komikku supirittsu (Big comic spirits). She has also created numerous dōjinshi under the name Nobi Nobita. As recorded in Sōhyō (Criticism) — an anthology of her critical works she issued herself as a dōjinshi—Enomoto started out as a yaoi author. She became known for a piece of criticism titled “Adults Just Don’t Get It,” its title drawn from the Japanese title of François Truffaut’s 400 Blows (1959). That essay used R. D. Laing’s Divided Self to read the celebrated anime serial Neon Genesis Evangelion (the psychology of which has been taken up even at meetings of the Japanese Association of Pathography). Evangelion’s director Anno Hideaki was reportedly so impressed with Enomoto’s interpretation that when he made the films based on the series, he incorporated a number of details that reflected her ideas…”
“Distinguishing the sexuality of male and female otaku means distinguishing male and female moe, and there are some evident differences. For many male otaku, the trigger for moe is either a character’s cute figure or the situation she finds herself in. What then is the object of moe for the female otaku who constitute the yaoi group? In fact moe is a term that yaoi fans do not generally use themselves, but Enomoto puts it perfectly when she says that while a male otaku may be “Asuka moe,” a yaoi fan is “phase moe.” “Phase” here represents one phase of a relationship. Let us suppose, for example, that a certain manga depicts a relationship of mixed friendship and antagonism between two boys. This relationship will be the focus of attention for these women fans: based on subtle gestures, looks, and expressions, or on fragments of dialogue, how and when will it move into its romantic phase of homosexual attraction? That is the universal theme of yaoi texts.
Enomoto explains that “male fans cannot experience moe until they have fixed their own position”— an observation that may well have validity beyond otaku and yaoi fans. In general a man fears the undermining of his own subject position, and he must establish that position firmly before he can desire an object. This is probably the fate of all who possess a phallus (as distinct from a penis): if the position and orientation of the phallus is not defined, the male cannot face even the object of his own desire.
The word moe is used by male otaku to locate the agent of that desire. On the other hand, in women that fear for one’s subject position is less acute. When a woman desires something, her own position is not important: she immerses herself completely in the object, and by emptying herself, she is able to take it in. The versatility of this subject position is clear when we consider how she identifies with the object. In the gay sex depicted by yaoi texts, a reader or creator can identify with both the seme (“active”) and uke (“passive”) characters.14 This is why her attraction to a text surpasses that of the male otaku.
This passion manifests itself in a different posture toward the text. For example, male otaku will often debate matters of textual interpretation with one another, but yaoi readers will argue fiercely about the combinations of characters in a parody or the choice to assign a character the seme or uke role in a sexual encounter. The latter sort of debate is unthinkable among male otaku, although both kinds of argument represent the struggle described above to “possess the work.”
Should yaoi texts be regarded as proof of the charge entertained above, the confusion of “fiction” with “reality”? In fact, these fan authors realize that the gay connections between characters in the textual worlds they create could never realistically exist. Regarding the absence of female characters in these parodies, Nobi Nobita explained to me that “when women are depicted, it can’t help becoming weirdly real.” Clearly there is no confusion between reality and fiction here.
Hmmmmmmm I smell echoes of Mishima’s Sea of Fertility again – or at least what I know of it from Rio Otomo‘s criticism. Mishima’s influence is unavoidable in Japanese modernist fiction and his heroic male youth archetype (who reads a lot like a slightly more asocial version of Wagner’s Siegfried) is pure Shonen Jump and always counterpoised against some extreme notion of a protoplasmic dissolving-all-encompassing emotional and physical sensation field of metaphorical gooo in female sexuality.
“I was lost in the valley of pleasure, I was lost in the infinite sea..” –P.Smith
Another correspondent invoked by Saitō:
“The yaoi creator Nakajima Azusa has written an analysis of yaoi titled Children of Thanatos, which is interesting as an act of self-analysis by one of the genre’s key players. The book’s description of yaoi has a number of points in common with theories of otaku I advanced in my first book on otaku, Sentō bishōjo no seishin bunseki. First, Nakajima writes that nearly all yaoi writers are heterosexual women with husbands and children and that she has never met one who was a lesbian. This corresponds with my own observation about the scarcity of homosexual otaku. Like otaku, yaoi fans are living out separate sexualities. They lead heterosexual lives, but their fictionally oriented sexuality turns to male homosexual relationships. These fictional sexual objects are not proxies for the real; instead, the space of fiction has a wholly independent economy of desire, a point yaoi fans share with male otaku.”
So far, Saitō’s conjectures and reportage are interesting and nuanced, Unfortunately the veneration of Freud’s demon bones intrudes: (honking big quote warning!)
“The Origins of Asymmetry
Actual heterosexual relationships appear symmetrical in the sense that the man desires the woman and the woman the man. But as we know, in any male-female relationship, the fundamental orientation of the male’s desire differs from that of the woman. (In that sense, love is nothing more than an exchange of illusions.) We must refer to psychoanalysis — particularly Sigmund Freud and Jacques Lacan — to understand these structural differences between male and female desire.
Psychoanalysis teaches that female and male desire have contrasting makeups from the moment they are constituted. What first gives rise to male desire is the process of symbolic castration. When the father intrudes into the happy sufficient union that exists between the mother and the young child, he severs their connection. At this point the male child discovers that his mother lacks a penis. The mother’s omnipotence (the omnipotence of the ego) is abandoned and replaced (along with the absent penis) by the signifier of the phallus.
When the male child obtains the primal tool of language that is the phallic signifier, the male child becomes a speaker and enters the symbolic world. By experiencing symbolic castration, he becomes a neurotic subject, and from that point the full range of desires becomes possible. Constituted as it is in this way, male desire has castration anxiety at its heart and must always seek the “object a” lost through castration. Desire directed at the object a incarnates desire as an illusion within the symbolic world, but never reaches the actual object.
On the other hand, female desire arises in a more roundabout way. Women also undergo symbolic castration to become a neurotic subject, but afterward, a woman discovers her own anatomical difference. She moves toward the mother’s position because both daughter and mother lack a penis. In males, gaining the phallus does not stave off desire for the mother, but for females, desire directed at the mother must be redirected through castration. For females, the mark of lacking a penis makes it possible to desire the phallus from the mother’s position.
The male follows a chain of metaphors directed toward the desired object a that he cannot attain. In the process, he constructs the illusion called knowledge. What he tries to possess (e.g., the illusion of woman) is actually a stand-in for the singular object a that perpetually eludes his grasp. And what is the situation for women? They locate themselves in the position of that which is desired by the male, the position of the mother. But this location represents a state of lack. Women can locate themselves only as beings lacking from the symbolic world, where women do not exist, and it is from this position of lack that women desire the phallus they do not have. This is the diametric opposite of the male orientation that constructs illusions.
The object of otaku desire, the sentō bishōjo, or armored cutie, is none other than object a, the girl who identifies with the penis. It is in an effort to become the possessor of these figures that male otaku construct the various illusions around them: fiction/criticism, novels, dōjinshi, and so forth. What is at the heart of the issue here is the reality the sentō bishōjo has by virtue of existing completely within fiction — by virtue of her state of lack. In Sentō bishōjo no seishin bunseki, I described this as “the inverted hysteria of visual space.” There is not room here to repeat all the details of that argument, but in summary it consists of the following points:
1. When a male desires a female, she is “hystericized” (hisuteriika).
2. Hystericization is desire that perceives a two-layered structure to the object: a visible outer layer that attracts or entices, and an unseen deeper level, the object’s true nature (like a hidden trauma).
3. The sentō bishōjo has a number of features that correspond to those of actual hysteria.
4. However, the sentō bishōjo can experience battle (“jouissance” enjoyment) without trauma (such as the experience of “rape” that motivates many “real” fighting women). In this sense she presents the mirror image of actual hysteria.
For male otaku desire, what is important is precisely that the desired object is lacking. If the premise of the sentō bishōjo is that she is fictional and lacking, it is only this that makes her eligible as an object of desire. But the illusionary quality of these warrior girls must have a concretely visual aspect. In the experience of moe, these visual elements occupy a central place, because inasmuch as these sentō bishōjo are objects of desire, they must provide some toehold for the author and reader to identify with them ironically. It is only in the visual dimension that the male can project his image narcissistically on the object. This accounts for the male predisposition to be attracted by physical appearances, and it may also explain the tendency among agents of male desire to supplement their own lack with a fetish.
How, then, does the desire of yaoi readers differ from that of otaku? Here we can directly apply what was said earlier about female desire. It may seem impossible for female readers to identify themselves directly with anything in a gay love story, particularly one from which female characters have been banished. But this is part of the fundamental process that enables desire. In the everyday world, it is by virtue of being the object of male desire that women are able to constitute their own position as a lack. If male otaku feel desire for the lack of the object, in yaoi female desire it is important that one be a lacking subject oneself.
So excluding women from yaoi texts is more or less necessary in order for the reader to alienate herself as the agent of desire. This current of desire, meticulously prepared, is then directed toward the phallic relationship of the men in the text. This phallic connection results from the fact that males, having penises, can take either the “active” seme or “passive” uke role in the sex act. Female penis envy is highly abstracted in these texts; the object of envy is rather the phallic positioning inherent in this relationship. Because of this, women can identify with any character in the story. A woman can never assert her own existence in these dramas of phallic desire, but it is precisely because of this inability that she can attempt an identification that is less limited than that of the male. The actual world contains many examples of this freedom women have as sexual subjects.”
Cixious has dealt with this bias at length, so it might be better to press on. There is something that can be rescued from this all, but the price may be a bit steep:
“It is known that men often form homosocial bonds—male unions that lead automatically to homophobia. The resistance heterosexual men generally feel toward homosexual connections is far stronger than the resistance heterosexual women feel toward lesbianism. On the stage of the imagination where desire is played out, men always try to become the agent of that desire, which is why they try to explain desire’s origins, and why in turn I am writing this. Put another way, men can feel only the kind of desire that can be described.
To all appearances, the desire of women is constituted much more passively. Women do not like to assert themselves as agents of desire, which is why their desire is so often hard to describe. Can one rationally explain women’s taste for jewelry? It is not even fetishism. This resistance to description is directly expressed by the phrase that gives us the word yaoi: “No climax, no conclusion, no meaning.”
As I mentioned, in these fanciful homosexual relations the thing regarded as most important is who has the seme and who the uke role. Among yaoi readers there are fierce debates about these assignments. This supports our ideas about yaoi desire: what matters is the relation between characters and the phase of that relationship.
Consider a slightly different formulation: if we identify otaku desire as the desire “to have,” yaoi desire is the desire “to become.” Extending a postulate of psychoanalysis that “a heterosexual is one who loves women,” we can say that women are fundamentally heterosexual beings. This is in part the reason why psychoanalysis does not regard lesbianism as an abnormal sexuality (tōsaku) but as an example of “acting out.” Yaoi readers are not trying to possess the homosexual relationships in yaoi texts; they are trying to identify with the phallic relationship itself. What permits them to experience jouissance is the form of their desire as a wish “to become.” [emp mine]
Nice to know that Freudian psychiatry, Queen Victoria and the book of Leviticus are in agreement!
“The moe of male otaku is mainly a fetishistic desire “to have.” It is a desire not for reality itself but for reality’s shroud or mantle. For that reason the elements of moe tend to multiply. For example, the visual ornamentation of manga and anime characters is increasing. It is easy to speak about the virtual quality of this kind of otaku sexual love, but it is hard to say the same kinds of things about yaoi. It may be because yaoi identification with the object seems to be constituted far more directly than otaku possession, which is, after all, possession of a substitute. In that sense, we might say that yaoi moe is a far more enjoyable experience than otaku moe is.”
“And I Tiresias have foresuffered all;
Enacted on this same divan or bed;;
I who have sat by Thebes below the wall;
And walked among the lowest of the dead”
-The Wasteland, T.S. Elliot,
Nope, the quote is ironic mode ON: the original Tiresias got to experience a female orgasm and liked it a lot! His only crime, for which the goddess blinded him, was to blab about the experience.
Guys: avoid viagra, cialis and tantric sex – it will turn you into a woman. Multiple or prolonged orgasm in males is the work of SATAN! That’s why the rotten girl’s fuck puppets are so prone to it!
Perhaps the rotten girls are convinced that our natural propensity to singular climax is what makes us crazy in the head and are trying to give us a gift to fix our sad lack, if only in their fiction?
Omne animal post coitum triste
Perhaps you aren’t trying hard enough…
Saitō then goes on to touch on an even more extreme geek perversion, shota – which he claims has equal male and female devotees, but (thankfully!) leaves any in-depth examination for future research.
(I am either hysterically defending my narcissism here or setting boundaries. Of course I prefer the latter explanation, but I could be deluded…)
The essay then gets back onto productive tracks with a discussion of fictionality and layered readings and possession vs fetishism. Basically the facility for and enjoyment of layered readings keep the possession from becoming too fetishistic – the act becomes that particular exsanguinated form of french post-structuralist joy – jouissance, but at least the otaku and the fujoshi are not crazy in the head – they are just cultural producers – in effect writers, mangakas (and artists?) in their own right (though this last word, the dread A-word is never spoken)
Oh well, leave it at creator and call it a win:
“Calling the otaku “creators” will produce objections that most of their work is childish in the extreme: lacking in originality, imagination, expressive skill, and so on. But these criticisms are no more than impressionistic critiques and imagined value judgments. This kind of approach is incompatible with psychoanalysis, but unfortunately even among critics who write from a psychoanalytic perspective we still see a number who are trapped in this kind of narcissistic posture. And from them we hear that tired refrain telling the otaku to “grow up and face reality.”
One can always counter this kind of impressionistic criticism with more of the same. For example, consider Japanese academic knowledge and its insignificance to the world at large (particularly in the humanities). From one perspective the otaku’s knowledge is much more globally relevant than what is taught in our universities. The fact that Japanese anime clubs exist at almost every American university can only bolster this impression.
Japan’s greatest cultural export is anime, a commonplace that still bears repeating. Since Sakamoto Kyu¯ ’s “Sukiyaki Song” topped America’s Billboard music chart in 1963, the only Japanese works to repeat this feat in their own category are the anime films Ghost in the Shell (1995) and Poketto monsutaa: Myu¯ tsu¯ no gyakushu¯ (1995, Pokemon: Mewtwo’s Return).21 The supposed “insularity” of otaku knowledge is a delusion of academics. But even if the texts created by otaku are regarded as childish, it may be a fortunate thing for us. A brilliant work has an aura that tends to stay the hand of anyone who would analyze it, but this is not a problem when we explore the creative process through the otaku. Nakai Hisao famously suggested that a line drawn by a patient and a line drawn by a genius are “philosophically equivalent.”22 In fact, the creative activity of otaku may reveal creation in its most primitive form, because the distance between desire and creation is so short.” [emp. mine]
This is extremely valuable!
You don’t have to be a great artist to be an artist. Joseph Beuys wanted everyone to be an artist, and the western Fluxus movement makes stuff that is so pathetically lame as to blur the boundaries of the definition of “art” in favor of the spontaneity of creation within a social realm. Having no talent or inspiration is no damn excuse. “You have 3 minutes left, I expect a performance piece for the class!”
Compared to Fluxus, Japanese visual culture is modular and reproducible in form and content, to an extent that it begs for fan involvement, appropriation, exchange and production. New technology helps grease the tracks (which will be dealt with in the long put off future post), but the urge to productive involvement that makes fan desire so radical is foregrounded in the otaku and fujoshi social, as much as in earlier North American car/ motorcycle sub-cultures and global computer hardware/software sub-cultures.
And to riff on an essay I read 1/2 an eons ago in Analog Magazine (and can’t find the citation for), it was the AK47 that changed war and lead to “the democratization of violence” (a term picked up by Muammar Gaddafi who liked western sci-fi), just as the modular, cheap shoddy IBM pc x86 architecture personal computer (which heh, developed out of the cpm bus board computers as well as the apple II) moved history a hell of a lot more than the $10,000 mac plus did.
Vernacular cultures are more powerful than elite cultures, especially if the tools and rules are cheap, easily mastered and distribution/ exchange channels can be found. I am not a big fan of rap, but I understand its appeal. But that’s for a future post..
Back to Saitō:
Next we get some quick and dirty analysis on Miyazaki:
“Miyazaki saw it [Hakujaden (Panda and the Magic Serpent)] 1958 as a teenager and fell in love with its heroine, then went on to become Japan’s master of the animated image. But from one perspective, his work has a quality of Freudian “repetition compulsion” that is sad. Possessed as a boy by an anime beauty, Miyazaki is fated to produce one charming heroine of his own after another, and through them to support otaku culture. This compulsion that revolves around beautiful young girls (largely absent in Miyazaki’s creative partner Takahata Isao, for example) repeats the initial trauma of Miyazaki’s early experience. This is clearly a chain of transference: a transference from receiver to transmitter mediated by the icon of the beautiful girl. Miyazaki’s inability to escape it is shown by his countertransferent dislike for adult anime fans (otaku), a scorn he makes no effort to disguise.”
Uh that’s a bit cruel, one could come up with a few alternative explanations, but lets let it pass.. Saitō then brings up Takashi Murakami’s superflat and Azumi’s the database as a prelude to a very interesting take on otaku and by inference fujoshi sexuality:
“Let me then summarize my argument up to this point. There are three driving forces behind otaku evolution: sexuality, the transference from reader to author, and the comic market. Otaku desire (the desire to possess through fictionalization) is supported by all three. We must wait for more concrete research on the comic market and author-directed transference. Here I have focused on the connection between creative activity and sexuality. “
[emp mine again -you should try it yourself prof Saitō, there is a reason people get into making art.. Start here]
The final issue I treat in this chapter is the intersubjectivity of sexuality, or the evolutionary changes in expression that have made that intersubjectivity possible. Naturally, the driving force for sexuality is the “actual reality” of sex. In this sense, otaku are trying to face the reality of their own sex constructively. But this kind of reality differs from the search for a sexual partner in the actual world.
In my book focusing on the sentō bishōjo, I suggested that this behavior was a survival tactic employed by otaku to “resist datafication.” As the illusory notion that “everything can be turned into data” becomes more and more widespread, how can one protect sexuality from the same fate? The answer is to spin out a limitless number of illusions from the single source of sexuality.[emph. mine] The sentō bishōjo, what I have also called the “phallic girl,” is a powerful icon that serves as the medium for these illusions. The most effective strategy against the restricting forces of datafication may be to oppose them with the unrestricted possibilities of illusion, that is, narrative. And I am convinced that an important role served by otaku culture is to preserve illusion’s unbounded character.
Hmmmm… I’ve heard that one before…
“Captain, you’re getting dangerously close to the planet killer”.
“I intend to get a lot closer. I’m going to ram this ship right down that thing’s throat!”
This is the old overload it until it blows up sci-fi trope, and what the heck – it worked well enough in real life to defuse the Frankfurt school’s loathing of mass culture. One stadium filled extravaganza is a Nazi propaganda triumph, but 3 each weekend, every weekend is just the concert, the game or the convention that you are too broke or bored to attend.
The essay ends with a jarring reference once again to shota, or rather a sub-genre; robo-shota (Waughhh! bad things happen to Astro-Boy!) as some kind of point of convergence/ vanishing point/ event horizon of otaku/ fujoshi desire and of course a mandatory “more research is required” , along with a plea to not condemn it out of hand…
(Sorry, must condemn – kill it with fire!)
“This is a desire so thoroughly fictionalized that one hesitates even to call it perverse (tō saku). Before one turns away from its strangeness, it is worth considering the limitlessness of the imaginative power that is fed by otaku sexuality. Maidroid is the emblem of a sexuality that depends only on these contexts to develop, a sexuality deliberately separated from everyday life. . If narrative is possible even after the “end of history,” that possibility may reside in emblems like these. But in the way they develop, these high context expressions are impoverished in the syntagmatic axis, even as they show such richness along the paradigmatic one. We see this in anime, where the almost excessive variation in setting and character combines with a tendency toward cookie-cutter story lines and ideas. It is for this reason that a high-context superflat space needs some stimulus from outside itself, to destabilize its internal context. Born at the boundary between modern art and otaku culture, the concept “superflat” itself functions as a point at which to introduce that externality. If we have a role to play in these processes, it should not be as critics or as opponents of otaku culture.
We should interact constructively with otaku; we should overcome our resistance enough to offer our own interpretations; and we should work from outside to keep stimulating the otaku imagination.”
Obviously, prof Saitō’s thesis is complicated, nuanced and extremely productive, even as it wears its biases and faults and blind spots (or at least currently unfashionable opinions) proudly pinned to its lapel.
Of the original reason for investigating prof, Saitō; the fantasy is fantasy and reality is reality law of otakudom, we are much further into the depths of how the mechanism supposedly enforces a psychic division of labor. The multifaceted, creative reading and production of endless variations on a favoured theme grounds itself in the realm of the imagination and would cease to function if it was to consciously “bleed” over into the real world. It would be like ordering fast food in haiku and writing fanzines on the park sidewalk. Yet at the same time fictional narratives have a habit of influencing real life, as herr doctor Freud’s work-as-trope proves.
There is a whole lot of useful material and insight here, and to ask Saitō to go a bit easy on the Freud-speak is to ask him to delegitimize himself in the eyes of the rest of his tribe of psychologists. But honestly! There are no lesbians at Comiket ??? Lets all redefine lesbian in a way that is far more violent than my past joke-conceit that the overwhelming majority of women-liking women in Japan were suspicious of the term and wanted some privacy (please!). And guess why they really aren’t lesbian? Cue monsieur Ishihara’s fave trick again.
It’s an interesting point of view, but lets not turn it into a permanent cultural festival.
Saitō gets closest to the issue with his emphasis on creative play, but must perforce pretend not to see the huge social element in fan creativity, or at least to view it in an un-social light. After all communication is merely the wielding of the phallus by a neurotic subject, which I guess is why men can’t really have any friends.
The biases in the cult of Freud and those who follow make a detached retina seem like a mild inconvenience. In the land of the blind, the one-eyed man is still short one eye, He does not necessarily get to be King.
The emphasis on layered reading and intertextuality is productive, and is handled far better than the soulless vertigo of the original database model; it leads to a better explanation/ understanding of the reality is reality vs fantasy is fantasy divide, than any tentative, previous, mis-read or mis-attributed reference to a weak adherence in Japanese culture to ‘western” ideas of a platonic model of ideals. You cannot really do much with the latter, whereas the former is the gooey stuff of high late modern (don’t say postmodern please!) culture, and as such is likely to spread like a virus through all industrial/ “post”-industrial cultures.
Looked at this way, it is the next step up from North American car, motorcycle and home computer building sub-cultures, and on par with social media, electronic music and video mashup subcultures.
And don’t tell me that they weren’t libidinized.
“Says Red Molly to James “That’s a fine motorbike.
A girl could feel special on any such like”
Says James to Red Molly “My hat’s off to you
It’s a Vincent Black Lightning, 1952.
And I’ve seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme”
And he pulled her on behind
and down to Box Hill they did ride”
– Richard Thompson – 1952 Vincent Black Lightning
Another useful point of view is the asymmetrical approach to boyotaku and girl fujoshi consumption of libidinized fan material. Male sexual fantasy is pretty easy to understand: and Madarame makes a good go of it to Saki with his line drawing speech early on in Genshiken. Yup, just cave paintings of beings we really really want but have trouble catching, let alone understanding and communicating with. Saki’s reaction is truthful as well – them damn stick figures won’t help much, and will probably get in the way of interacting with real women.
But Ohno and Ogiue, and later the rest of the rotten girls are harder to fully fathom. Sure, they could be making up for a certain lack, or they could have found a way to enjoy a virtual woody without having to give up a more efficient and far more pleasurable arrangement. Or they could be trying to get back at Freud-daddy and his thick-headed followers, and all the stupid boneheaded sexism that hides stupid unfair, corrupt and ultimately self-destructive patterns of behavior in a certain society (and ours too). Or they could be trying to, as previously suggested, give us guys the gift of multiple orgasms. Or they could just be wired so that reading about rough (or nice vanilla) sex by fictional males really turns their crank, and then they drape some good behavior tropes over the mess (reads like romance) so they don’t feel too abject when they look at themselves in the mirror later, and because a good raunchy story is fun to share.
The asymmetry effect could merely be a side-effect of more developed patterns of women’s social interaction,
While it is true that every generation believes that it has invented sex, it is also true that the amount of smut, and its availability in absolute terms is far greater today than could be imagined by even the most jaded of our ancestors.
We are up to our ears in smut. We have country-wide junkyards full of rusting smut. The smut recyclers can’t keep up with it, the pile of debris grows ever skyward. We have barges and container ships that illegally dump smut, along with worn t-shirts and broken electronics on the shores of “failed states”. The smut concentrations in the earth’s atmosphere have for the first time in history exceeded 400 ppm!
Houston we have smut!
Why can’t the rotten girls customize theirs too?
The rest of the book that this essay is contained in (“Robot Ghosts and Wired Dreams :Japanese science fiction from origins to anime”) goes on at length to describe how Japanese science fiction was used by many writers, including women writers, to highlight social contradictions and play with alternatives. Could a theory of vernacular fiction/ narrative and social change be more productive than an orthodox Freudian psychoanalytical approach?
Fairy tales do not tell children that dragons exist.
Children already know that dragons exist.
Fairy tales tell children that dragons can be killed.
..might be a misquote of Chesterton, but it is snappier.
A Freudian approach to fujoshi desire constitutes women’s desire as a lack, an engulfing void that seeks to absorb the absent phallus – symbol of lack and flaw, and as such experience imagined male sexual play from an undifferentiated, multiplicitous point of view, absorbing all into a subject-less vortex of sensation… or something. It also drapes a lot of dissimulation and elaboration over the crude metaphor and metonymy that is at the heart of the the Freud myth: Woman as castrated male, and as hole/vessel, orifice that engulfs the male member, and guardian of the chthonic wound from whence blood issues monthly and new life springs forth from pain and gore.
“Here’s to the hole that never heals!”
Go too far with this, and you can end up like Apollo in the Oresteia’s The Friendly Ones, reduced to gibbering to a jury of Athenian farmers that the female of the species is only some kind of container full of potting soil that adds nothing to the life that develops during pregnancy. While Church philosophers a thousand years later took this as “natural philosophy”, the 600BC Athenian audience (who knew farming) hooted with laughter at the fine corner Athena had backed her stupid, arrogant brother into. Even he realised his fuck-up and shortly after left the “trial” in a huff.
Prof. Saitō: what do you make of mpreg yaoi stories? Are fujoshi texts trying to impose a revenge of pregnancy upon males? Are they “gifting” their imagined male creatures with something they lack in real life, much like the aforementioned multiple orgasm digression? Or are they playing with an even greater horror than their violent pseudo-homosexual coupling? Male pregnancy is something deep in the collective male anxiety closet: viz Cordwainer Smith’s “The Crime and the Glory of Commander Suzdal” – a well-crafted nasty little homophobic nightmare straight out of the pop psychology anxiety closet. (http://en.wikipedia.org/wiki/The_Crime_and_the_Glory_of_Commander_Suzdal
Intelligent cat creatures created in the wink of an eye, locked in eternal battle with a world full psychotic pregnant faggot-bogeymen bent on exterminating all women from the galaxy. Little surprise that this tale was the product of the writing hobby of the man who helped develop the concept of “psychological warfare” for the allied war WWII war effort.
These are all elaborate narratives built on very shaky chains of metaphor and association; they make for fine tales and myths, but sin against William of Occam’s simple prescriptions for making sense of the world.
Perhaps an alternate reading could be suggested by the dismissive comment of another critic of fujoshi practice; “that the girls are all just playing with dolls“. But one underestimates such play at one’s peril, for is not such play the stuff of high modern literature? Or is the third-person omniscient narrative, with jumps to multiple, sometimes conflicting and unreliable first person points of view not seen as the height of the contemporary craft of the novel?
Fujoshi desire is simultaneously the view of the goddess and the view of the void – a trick that matches and possibly one ups Job’s inscrutable big-papa-in-the- sky.
Then the fujoshi spoke to her sisters out of the whirlwind. . ..
The girls are better at multitasking, just as we are better at fixating on one thing to the point of obsession. Of course your mileage may vary and a sound exercise regime can help in levelling the differences. Guys – multitasking won’t turn you into someone’s bitch, though it may turn you into an employable telephone tech support worker. However your brain will hurt for the first four months.
And as a further aside; someone must be able to make sense of a women’s (or men’s) taste in jewelry, otherwise how could so much money be made on the exercise?
Multiplying entities without necessity is an act of love, not an act of science. (TM)
As for the escapism or coping mechanisms that the libidinization of Japanese visual culture provides, one would be remiss if one failed to note the very real social, economic and generational pressures that bear down upon folks in Japan in this particular moment in time. The old models are not working too well for anyone, unless you are really rich or retired with a good pension. Or does the search for the Lacanian “object a” explain the Japanese invention of the Love Hotel?
Demographics and economics have as much to offer to the understanding of otaku and fujoshi behavior as strategies of layered reading and creative consumption. Even Lacan understood that post WWII France was something different from Freud’s fin-de-siecle Vienna. (hence the shift from incest taboo to the dead- father- as- the- law). One may also add that Freud didn’t have a monopoly on castration myth-spinning; That we don’t have J.G.Frazier-ian psychoanalysts (we might get some Jung) is only an accident of history. We could be all reading that the otaku and /or fujoshi secretly want to slaughter all their psychic competitors to become the symbolic king of the sacred grove at Nemi, even while knowing that their reign will be short, and end in their murder by the next fool… All while they are powerless to escape the ritual of the sacred and the sacred nature of the ritual.
As per a previous post:
“Hermeneutic: any narrative scheme works well enough if internally consistent; if we are lucky it might be useful under some conditions.”
“Repetition, aka: Invoke often, use a bigger hammer.”
If this stuff was repeated daily for the last 100 years by an ordained clerisy dedicated to helping you make sense of the weird crap that your wetware throws up at you, you would fall in line and structure your angst accordingly. No wonder Scientology is trying to muscle in on the action.
Add to this the powerful attraction that Freudian just-so stories have to any lazy hack writer, scriptwriter, songwriter, playwright, screen-writer, mangaka and poet over the last century and the tropes of the mythos become inescapable; to the point of folding in upon themselves as parody and meta-fiction. Want some Freud “anal phase” narrative? Check out the scatologicaly excessive animated Korean masterpiece Aachii and Ssipak! I have always wondered what would happen when a fully fledged Freudian / Lacanian analyst got his hands on this one.
As the repair guy opined in “Brazil” – ‘we’re all in it together!”
Closer to psychology’s home turf, I also wonder about the lack of research connecting the otaku personality with ADD and Asperger’s syndrome. A large part of the otaku thing could well be a socially mediated response to biochemical variations in the brains of a certain subset of the population. A hundred years ago they would have all made great craftsmen. Perhaps given the great fear of amphetamines in any form by the Japanese government makes such a diagnosis useless? No ritalin for otakus!
Perhaps I need all this to keep my narcissism going full blast, lest the “insert lyrics from a song from the doors here” jeebies gets me at night. Could be, could be, rabbit… But I would also hope that one could pry a few more useful insights from the exercise. As with all my reviews that so far have flailed away against the violence of the Freudian mythos, I would urge that it is time to kick the ladder away, leave behind the bogies, and preserve the insights that are grounded in hard work, and real life interaction with real folks.
Of the latter, prof Saitō’s work contain insights that shine, and will doubtlessly yield even more in the future.
I’m just a bit annoyed to see the good stuff marred by a mean-spirited and ugly superstition that supports the oppression one half of humanity by means of a half-assed just-so story. It is Eve cursed by original sin, it is a secular pseudo-religious superstition,
It is like listening to an antebellum white southerner justify slavery.
It is unworthy of serious scientific endeavor!
Stop it now!
Time for a yaoi doujin along the lines of “Even a monkey would get annoyed with Sigmund Freud” – Something like 20th Century Boys… The two illustrations in this post are from Monkey Business – the Idiot’ s Guide to Tokyo’s Harmful Books Regulation, a fine example of otaku agitprop. See: Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community by Alex Leavitt http://journal.transformativeworks.org/index.php/twc/article/view/321/311