I've read your article about the "otaku status symbol" being bad for the American anime fan community. I was just wondering are the Japanese just as concerned with the "Anime Otaku Status Symbol," if not, why aren't they as concerned about as the Americans are?

Generally the opinion toward hardcore anime fandom in Japan is virtually the exact opposite of what it is in America. Obsessive American anime fans wear the label of "otaku" with pride, and frequently strive to be the most obsessive fan and collector among all the people they know. On the other hand, in Japan, otaku are normally viewed as anti-social, irresponsible geeks. The most obsessive Japanese otaku frequently care nothing about appearing like "otaku" to others because they have no friends or social life. These most obsessive Japanese otaku literally exclude themselves from relationships with other human beings and insulate themselves entirely in fictional anime and game culture. These fans are known as "hikikomori." To be fair, not all hikikomori chose to become voluntary shut-ins because they're obsessed with anime or video games, but fanatic devotion to anime is one leading cause for this psychological affliction. Furthermore, it's a well known fact that one should never refer to the self as an "otaku" in Japan, especially when seeking employment. Japanese employers associate otaku with fanatics that are more interested in their hobby than being a responsible employee. In effect, mainstream Japanese culture evaluates otaku as lazy, self-absorbed outcasts that shun normal social relationships in favor of their hobby, prioritizing their own entertainment over social responsibilities like working or education. Obviously with the amount of anime that Japan produces, mainstream Japanese culture does approve of anime and manga, but in moderation.

Relatively, compared to true Japanese otaku, most American "otaku" are mere beginners or poseurs whose devotion to anime only remotely approaches the levels of fanatic obsession exhibited by Japan's most hardcore otaku. To paraphrase the anime cliché, most American otaku are 100 years too early to compare themselves with hardcore Japanese otaku. American use of the term "otaku" is playful and taken as a mark of individuality. America has adopted none of the darker, more unsavory implications of the Japanese use of "otaku." In Japan, where individuality is generally a negative attribute, average anime and manga fans don't go out of their way to label themselves as "otaku," and the most obsessive Japanese otaku are people that we would probably recommend for serious, institutional psychological counseling.

Do you think American people are foolish for devoting a lot of their life to anime? Simply, I want to know if you agree to American anime fans, or disagree to American anime fans. I sometimes think that Japanese people dislike American anime fans because we are taking their tradition. Do you think that's true?

Speaking as an American that has devoted a lot of his life to anime, I don't think my chosen hobby is foolish at all. In fact, I think that my addiction to anime has cultivated within me a respect for cultural diversity, an appreciation for art, and elevated my critical and rational analytical skills. I'm a firm believer that everyone needs some sort of hobby or interest, and I think there are plenty of hobbies with fewer positive qualities than an interest in Japanese animation. Personally, I am generally only offended by people who call themselves anime fans just to pose a social status. Such "fans" aren't really aficionados of Japanese animation; they're only trend chasers riding on the coattails of the latest hot ticket. But I do have to respect anyone that genuinely loves the art form of Japanese comics and animation. Furthermore, I respect people who have the motivation and determination to set goals for themselves and strive toward creating their own art. On the other hand, as an extension of my appreciation for Japanese art, I'm rather disappointed by Western artists that perceive only the most superficial aspects of manga and anime and fail to comprehend that it's the unique Japanese culture and artistic perspective behind anime that makes anime what it is. Speed lines and big eyes, cat girls and guns, unusual hair colors and monochrome comics don't constitute real manga and anime to me. These characteristics reflect only a pale imitation of manga and anime based on a lack of understanding and appreciation of the true culture of manga and anime.

But I digress. Simply put, I do vigorously approve of American anime fans, and I do recommend anime as something worth devoting one's life and energy to. What I do not approve of is Americans who see anime as only a means to an ends. Editing and altering anime to make it more profitable in America; creating "anime style" works that bear only a superficial resemblance to Japanese art; and claiming "otaku" status just to seem trendy are all signs of people who fundamentally don't understand or appreciate the artistic and creative beauty of anime and manga.

Regarding the usurpation of Japanese animation by Americans, I don't believe that this is the case. I've been to Tokyo four times since becoming an obsessive anime fan. I've also met many professional anime and manga artists. In my experience, I think that Japanese fans are just as willing as anyone to embrace others who share their appreciation and respect for anime. During the hours I've spent in Japanese anime stores including Mandarake, K Books, Melon Books, Animate, and Gamers, I've never been treated coldly or rudely, I think because it's clear that my adoration for anime is equal to that of Japanese fans. We are brothers in arms. Likewise, Japanese professionals that attend American anime conventions frequently seem awed that so many American fans appreciate their works. It's hard to imagine an artist being angered or outraged that fans enjoy his or her art, regardless of what language the fans speak or where they originate from. I suspect that Japanese fans who may seem outraged or resentful of a foreign usurpation of a traditional Japanese hobby are actually only angered by foreigners that latch on to the superficial and overt aspects of Japanese culture without trying to understand or appreciate any of its depth or meaning or culture.

Hentai is my life. Why is it so addictive? I saw Legend of the Overfiend and that set me off. I'm obsessed with it! Why is this so!

For an open-minded individual, it's no doubt that hentai can be addictive. It appeals to all of our most vital and primal desires and instincts. Humans are obsessed with sex. Regardless of how much certain religions try to suppress natural sexual desires, humans instinctively desire physical relations and the act of procreation. But humans also desire stimulation- feelings of love, empowerment, excitement, and sometimes even fear. Adult anime and manga address those natural human desires. In fact, hentai is a product of a society that largely does not try to suppress natural human sexual instincts, and artists that simply express their natural feelings and desires in the form of comics and animation.

Manga is essentially an unrestrained artistic medium. Whatever an artist can imagine can appear in manga. That's why manga cover subjects ranging from politics to the most horrible acts of brutality and cruelty imaginable. Adult manga is fantasy, and the unlimited potential of manga allows creators and artists to indulge their natural instincts in a safe, non-harmful way. Rather than suppressing instinctual feelings of sexuality and violence, manga allows for a cathartic, vicarious release. Yet manga is limited by being a print medium. Anime brings sound and motion to the table.

Adult anime is likewise appealing because it indulges our utmost fantasies. Unlike reality, girls in anime are always young, attractive and fertile. Men are always handsome and powerful. Unlike real life sex that may be tainted by uncertainty or hesitation, there's no bad sex in anime. Emotions are always at their most pure and unfettered in anime. In fact, feelings can have more impact in anime than they can in real life. The infamous "demon tentacles" of adult anime were created as a way to work around traditional Japanese censorship laws regarding the depiction of genitalia. However, the demon tentacles also serve another purpose. A lover's goal is to satisfy both himself and his lover. The demon tentacles of anime can satisfy that urge in a way impossible in reality. The multiple monstrous appendages coming from a single man can completely engulf a woman, make the woman feel ultimate, overwhelming sensation impossible for any single man in real life. Likewise, a female viewer can watch hentai anime and imagine herself totally absorbed by her lover, pleasured in every way possible all at once by her lover. Adult anime thus satisfies subliminal cravings that are impossible to address in real life. Certainly, regardless of how compelling it may be, vicarious sexuality on screen or in print can never substitute for the reality of physical human contact, but it can be a highly entertaining diversion.

Japanese audiences recognize the value of adult manga and entertainment, which is why there are dozens of new hentai manga and anime released in Japan each month, and why adult anime in Japan is not criticized or abhorred the way it is in America. Of course, all things should be consumed in relative moderation, but for someone that understands the purpose and limitations of hentai anime and manga, hentai can be a very satisfying and enjoyable form of entertainment.

I'm assuming our old pal John looks a bit like this. Still wanna ask him something?

I was recently asked if I felt anime was sexist, and I'm now seeking out others' answer to that question. So, do you think anime is sexist?

Basically, no. I do not believe that anime is sexist. Japan itself is frequently cited as a nation that extends women certain rights, and even control over certain aspects of daily life such as family finances, but does not advance universal equality between men and women. Contemporary Japan is a sexist, male dominated society. But I do not believe that anime itself either condones sexist attitudes or represents sexist values. In fact, just the opposite; I believe that anime is one of the most feminist of cinematic genres. In fact, contemporary anime may actually be a reactionary response to the sexism evident in everyday Japanese society.

The argument that anime is sexist or that anime fetishizes and commodifies the female is grounded in superficial cursory examination without critical analysis or evaluation. At the most superficial level, it can be argued that the examples of anime best known to Western critics are those made by male animators for male viewers. These anime often feature sexy and attractive young female characters specifically designed to foster idolization by male viewers. Anime titles including Tenchi Muyo, Love Hina, Maburaho, Steel Angel Kurumi, Sister Princess, Eiken and Hanaukyo Maid Tai even promote male sexual fantasies by literally illustrating the male fantasy of being surrounded by adoring females.

Such arguments and examples may seem valid upon first presentation, but lose some of their ironclad credibility under close scrutiny. Especially in examples such as Maburaho, Hanaukyo Maid Tai, and Love Hina, the male isn't surrounded by women that are characterized as sexual objects or trophies. (Editor's Note: YES THEY ARE!!!!!) In fact, in these shows it is the females who wield power over the pitiful male. Kazuki Shikimori of Maburaho, Mifune Densuke of Eiken, and Keitaro Urashima of Love Hina are weak willed and easily manipulated males who almost totally subvert their own egos to women. Hanaukyo Taro of Hanaukyo Maid Tai is used as a plaything by Ichigo and her sisters. And he's allergic to women, making him helpless in a house filled with women. Taking that concept one step further, the men of Vandread are held captive by women, and shown as incompetent and buffoonish in their attempt to defend themselves against an attack by more competent females.

Representing the sort of empowering embrace of femininity promoted by feminist theorist Camille Paglia, anime frequently illustrates women who are equal to men in ability, influence and power without compromising their feminine sexuality. One of the best examples is the classic Dirty Pair, dating from 1985 to 1990. The original Lovely Angels were always mindful of female concerns like dating, clothes, and their looks. And they chose to wear revealing bikini-type uniforms. But when it came to work, the original Kei and Yuri were never at a disadvantage to men. The original Dirty Pair, despite their eager advocation of femininity or sometimes because of it, were always equal or superior to every male they encountered. Ghost in the Shell's Motoko Kusanagi is another example of a progressive feminist role model. Motoko is the leader of Section 9's field team, commanding the other five male members of the force. Although she is female, Motoko is faster, stronger, and smarter than her male counterparts. These two examples are only two out of a multitude of female anime characters who are smart, competent, the equal of the men in their society, and who are unashamed to exert their femininity.

Coming at the discussion from a second angle, it's impossible to say that anime promotes sexism by offering only exploitive wish fulfillment fantasies to young males because of the massive amount of existing anime created for female viewers. Dating as far back as at least 1967 there are examples of anime like Ribbon no Kishi (Princess Knight) created for female viewers. The massive Japanese success of girls' shows including Kodomo no Omocha, Marmalade Boy, Minky Momo, Creamy Mami, Sailormoon, and Ojamajo Doremi should effectively prove that anime targets viewers of both genders and doesn't exclusively pander to the primal desires of men alone.

Finally, the staff behind the scenes of anime furthermore contributes to the argument that anime is neither a male dominated field nor a genre that exists to subversively promulgate male dominance. The prominence of powerful female artists including Rumiko Takahashi, Naoko Takeuchi, Yuu Watase, Inomata Mutusumi, Akemi Takada, Atsuko Nakajima, and director Mitsuko Kase validates the anime industry as one that allows females equal opportunity as male artists, and establishes a significant female influence in the creation of anime.

In summation, as a commercial art intended slightly more for male consumers than females, it's inevitable that anime would include some female exploitation and fetishization of the female as sexual object. But, I think that a responsible evaluation of anime and its creative industry reveals that there are too many examples of powerful, uncompromising women in anime to allow for the generalization that anime is sexist and either male dominated or propagative of patriarchal stereotypes and paradigms. In fact, I think that evaluation of anime and the Japanese animation industry will reveal that both are far more liberal and supportive of expressive femininity and feminism than typical Japanese society is. Perhaps because anime deals with fictional idealizations and alternatives to real life Japanese society, created by liberal thinking individual artists, anime may actually be a sort of sub-conscious, left-wing, anti-establishment movement pointing out a desire for greater equality between the sexes in modern Japanese culture.

"John 3:16." GET IT?! 
(Sorry, I don't know what's up with the dog.)