If kawaii, or the aesthetic of cute, is
the longing for the freedom and innocence of youth, manifesting in the
junior and high school girl in uniform (Kinsella 1995), then moe is
the longing for the purity of characters pre-person, manifesting in
androgynous semi and demi human forms. This is called 'jingai,' or
outside human, and examples include robots, aliens, dolls and
anthropomorphized animals, all stock characters in the moe
pantheon. A specific example would be nekomimi, or cat-eared
characters. More generally, in order to achieve the desired affect, moe
characters are reduced to tiny deformed 'little girl' images with
emotive, pupil-less animal eyes
1More
shared by Ariane Beldi on 03 May 11
- No Cached
SGMS 2011 Call for Papers! - 0 views
schoolgirlsandmobilesuits.com/?p=435
japanese audiovisual entertainment industry cultural studies online archives website english html textual image academic conference scholar article manga anime globalization anthropology sociology theory method fieldwork
![](/images/link.gif)
-
"Ten years ago, the first SGMS had to be delayed because of the tragic event of 9/11, but two months later, seven academics from a variety of disciplines spoke on manga and anime to a crowd of 150 eager fans, academics, and students from junior high to college-aged. Since then, on the last weekend of every September, the expanding community of SGMS artists, actors, teachers, and students have gotten together to celebrate manga, anime and Japanese popular culture. Join us for the SGMS Masquerade Bash on Friday night with the Full Fashion Panic Fashion Show, music, food and costumed frivolities will prevail! Even the guests will be in costume! On Saturday and Sunday, there will be talks by guests Marc Hairston, Crispin Freeman, Thomas LaMarre, Christopher Bolton, Gilles Poitras and Frenchy Lunning. Classes in manga creation by Robert Ten Pas and Dennis Lo, Lolita Fashion creation by Samantha Rei, and more will be held. Watch for the announcement of our VERY SPECIAL GUEST soon!"
46More
shared by Nele Noppe on 11 Mar 10
- Cached
Moe and the Potential of Fantasy in Post-Millenial Japan - 2 views
www.japanesestudies.org.uk/...Bryce.html
academic manga anime moe fans characters romance sexuality games kawaii zoomorphism affect emotion visual_language boys_love dojinshi
![](/images/link.gif)
-
Moe is also used by fujoshi, zealous female fans of yaoi, a genre of manga featuring male homosexual romance. However, the word moe indicates a response to fantasy characters, not a specific style, character type or relational pattern. While some things are more likely than others to inspire moe, this paper will focus mainly on the response itself rather than the forms that inspire it.
- ...43 more annotations...
-
The moe character is a 'body without organs' (Deleuze and Guattari 1987), and the response to its virtual potentials is affect.
-
Massumi argues affect is a moment of unformed and unstructured potential (Massumi 2002). The experience, what he calls an 'intensity,' is outside of logical language and conscious control. Moe provides a word to express affect, or to identify a form that resonates and can trigger an intensity.
-
It is for this reason that moe is consistently misunderstood as first and foremost images of young girls instead of a response to virtual potentials
-
In the field interacting with otaku and fujoshi, I was constantly confronted by the concept of moe, and found it necessary to engage it.
-
These are both men and their discourse centers on male otaku, but I will argue from them a more general theory, applied later in the paper to fujoshi structures of desire.
-
the salient point is his judgment that a relationship with a mediated character or material representations of it is preferable to an interpersonal relationship.
-
While recognizing the conservative nature of otaku sexuality, Azuma attempts to account for the schizophrenic presence of perversion in the moe image. For Azuma, otaku are postmodern subjects with multiple personalities engendered by their environment and enthusiastic media consumption
-
To feel moe for all characters in all situations, the narrative connecting characters or moments in time is de-emphasized.
-
response is unconnected with 'reality' and thus offers new potentials to construct and express affects.
-
Moe is affect in response to fantasy forms that emerged from information-consumer culture in Japan in the late stages of capitalism.
-
Such a space is disconnected from social and political concerns, and exists for the preservation of the individual.
-
Manga scholar Itou Gou argues that since the end of the 1980s characters in anime, manga and videogames became so appealing that fans desired them even without stories (Itou 2005). Ito dubs such character types 'kyara,' distinct from characters (kyarakutaa) embedded in narratives.
-
The doll-like and semi-human Ayanami became the single most popular and influential character in the history of otaku anime; fans still isolate parts of the character to amplify and rearticulate in fan-produced works to inspire moe.
-
In works featuring these characters, the original work functions as a starting point, and the extended process of producing and consuming moe takes place among fans in online discussions and videos, fan-produced comics (doujinshi), costume roleplay (cosplay) and figures.
-
That the moe form, the body without organs, is outside personal and social frames is precisely why it triggers affect.
-
'moe otaku' a superficial fixation on surfaces and accelerated consumption of disposable moe kyara, impetus for him to declare this younger generation culturally 'dead'
-
One man I spoke with said, 'Moe is a wish for compassionate human interaction. Moe is a reaction to characters that are more sincere and pure than human beings are today.' Similarly, another man described moe as 'the ultimate expression of male platonic love.' This, he said, was far more stable and rewarding than 'real' love could ever be. Manga artist Akamatsu Ken stresses that moe is the 'maternal love' (boseiai) latent in men,[xxi] and a 'pure love' (junsui na ai) unrelated to sex, the desire to be calmed when looking at a female infant (biyoujo wo mite nagomitai) (Akamatsu 2005). 'The moe target is dependent on us for security (a child, etc.) or won't betray us (a maid, etc.). Or we are raising it (like a pet)' (Akamatsu 2005). This desire to 'nurture' (ikusei) characters is extremely common among fans. Further, moe is about the moment of affect and resists changes ('betrayal') in the future, or what Akamatsu refers to as a 'moratorium' (moratoriamu). Moe media is approached as something of a sanctuary from society (Okada 2008), and as such is couched in a discourse of purity.
-
I will now demonstrate how it is further possible to reduce people to characters, or to reduce reality to fantasy in pursuit of moe.
-
Association with the two-dimensional world, and lack of depth or access in the three-dimensional world, makes a maid moe.[
-
this arose in Japan in the late stages of capitalism as a result of shifts in consumer-information society
-
aoi erases the female presence because fans say female-male or even female-female couples[xxxvi] are too 'raw' (namanamashii). Put another way, the reality of relationships is removed from yaoi to make the moe response possible.
-
Many other fujoshi I spoke with dated men even as they imagined possibilities of coupling them as characters with other men.[xl] As Saitou points out, the reality of heterosexual relationships and virtual possibilities of homosexual couplings are separate and coexistent (Saitou 2007). Journalist Sugiura Yumiko explains this as the crucial difference between fujoshi and otaku, who approach fantasy as an alternative for things that they actually want but cannot realize in this world (Sugiura 2006).[xli] A fujoshi, for example, would not 'marry' a two-dimensional character the way some otaku advocate;
-
Sugiura is importantly highlighting that fantasy and reality are separate and coexistent, but this is widespread in moe culture and not solely a female quality.[xlii] As much as male otaku boast of their two-dimensional wives, they often do so with levity as a self-conscious performance
-
While it is true that men tend to feel moe for single characters that they can possess while women feel moe for relationships or character couplings, this broad difference is fast disappearing. In truth, the media popular among so-called 'moe otaku' in recent years has come to resemble yaoi aesthetics: multiple girls in a nostalgic or fantastic world with minimal male presence and heightened emphasis on relationships and emotions
-
In all cases, the database (Azuma 2009) is present. The elements that constitute and indicate a certain type of top or bottom, for example glasses or hairstyle or height, are predetermined; any given top or bottom is a construct of defined character traits and behavior.
-
One of the most recognizable features of the moe phenomenon is the anthropomorphization of objects into objects of desire. Otaku turn cats, war machines, household appliances and even men of historical significance into beautiful little girls to trigger moe. Reality is flattened, and from it emerge polymorphous forms of stimulation. Similarly, fujoshi can rearticulate anything into beautiful boys and sexualized yaoi relations. Moe characters can be based on a written description or drawn image, a physical person or even anthropomorphized animals, plants and objects.
-
The erotic fantasy effectively re-mystified their world, adding a layer of potential to the mundane (the very ground under their feet!) and making the familiar queer and exciting. Latent potential so unlocked, the three friends replayed the moe relationship across other potential players such as shampoo and conditioner, knife and spoon, salt and pepper.
-
More startling and subversive is 'moe politics' (seiji moe), where national histories, international relations and imposing world leaders are reduced to moe characters across which yaoi romance can be read.
-
It should be noted that Hetaria was written by a man, and these sorts of stories are becoming increasingly popular among young men known as 'fudanshi' (rotten boys).
-
it precisely because it is pure that it can give birth to such perverse and polymorphous possibilities.