Austin Otaku's Guide to Being an Otaku Austin Otaku's

Total Page:16

File Type:pdf, Size:1020Kb

Austin Otaku's Guide to Being an Otaku Austin Otaku's Austin Otaku’s Guide Notes: to Being an Otaku Terminology Akiba – Short name for Akihabara, otaku-central in Tokyo, known for maid cafes, anime shops, etc. Baka – “Stupid.” A common insult in anime Bishojo – “Beautiful girl” Cosplay – “Costume” + “roleplay” – dressing up like a favorite anime, manga, or game character Dakimakura – Hug pillow, usually printed with female anime/manga characters Doujinshi – manga’s version of fan fiction – independently produced manga Fan Service – the display of characters in risque positions to give fans a thrill Fan-sub – subtitled versions of anime or manga produced by fans Harem – An anime or manga in which one male is surrounded by several beautiful women Hikikomori – A social shut-in. Idoru – “idol” – a highly produced singer/model Kawaii – “cute” Kigurumi – A form of cosplay that includes full- body covering, including a mask with anime facial features. Moe – Getting worked up over young beauties Plamo – Plastic models. Usually mechas. Shojo/Shonen – Girl/Boy – Can refer to the intended audience of a manga. Austin Otaku’s Tsundere – refers to a character type that is cold and moody at first only to turn warm and loving Guide for the Otaku in Exile later. AustinOtaku.com Otaku (おたく, オタク) www.austinotaku.com – n. fanboy, geek, Email: [email protected] nerd. Hardcore or cult Twitter: http://Twitter.com/AustinOtaku fan. Can also mean Facebook: http://www.facebook.com/pages/Austin- “Japanophile.” Otaku/183339625061 Keith L. Goode Blogger/Otaku Anime Watch, Rent, or Own Anime There are several options for keeping up with anime. Informative Sites: Some of my Favs: Random Curiosity http://randomc.animeblogger.com Kawaii Kawaii Anime Anime http://www.kawaii-kawaii.co.nr Bleach Anime News Network Genshiken http://www.animenewsnetwork.com Death Note Anime Suki J-Dorama The Melancholy of Suzumiya Haruhi http://www.animesuki.com Azumanga Daioh Keep up with the latest in Japanese Nodame Cantabile Legally Watch Online dramas with these links: Toradora! Crunchyroll Sayonara Zetsubou Sensei http://www.crunchyroll.com Information: Bakemonogatari The Anime Network Drama wiki (D-Addicts) http://www.theanimenetwork.com wiki.d-addicts.com/Main_Page J-Drama Funimation Jdorama.com http://www.funimation.com http://jdorama.com Nobuta wo Produce My Boss My Hero Rent Anime Locally Watch Online Kurosagi Dragon’s Lair (on Burnet Rd.) Drama Crazy GTO http://www.dramacrazy.net Gokusen Own Anime My Soju Dragon Zakura Right Stuf http://www.mysoju.com Galileo http://www.rightstuf.com Rent Locally J-Rock/J-Pop Connect with Other Otaku Asahi Imports (on Burnet Rd.) Gackt L’arc~en~ciel Watch anime with the following groups: J-Pop and J-Rock Dir-en-Grey UVERworld UT Anime Club Listen Online: Asian Kung-Fu Generation uts.cc.utexas.edu/~anime/ J1FM MUCC http://en.j1fm.com Utada Hikaru Austin Anime Meetup Group High and Mighty Color Purchase Online: www.meetup.com/anime-501/ CDJapan http://www.cdjapan.co.jp/ Visit AustinOtaku.com .
Recommended publications
  • US EPA, Pesticide Product Label, CLOROX BLEACH, 09/13/2011
    UNITED STATES ENVIRONMENTAL PROTECTION AGENCY WASHINGTON, DC 20460 OFFICE OF CHEMICAL SAFETY AND POLLUTION PREVENTION September 13, 2011 Ms. J. Evelyn Lawson Senior Regulatory Information Scientist The Clorox Company C/o PS&RC; P. O. Box 493 Pleasanton, CA 94566-0803 Subject: Notification Application per PR Notice 98-10 Clorox Bleach EPA Registration Number 5813-1 Application Date: August 22, 2011 EPA Receipt Date: August 23, 2011 Dear Ms. Lawson: This acknowledges receipt of the above notification application, submitted under the provision of PR Notice 98-10, FIFRA 3(c)9. Proposed Notifications: • Add an ingredient disclosure website on page 32; • Updated EPA Est. information including alternate language for Puerto Rico, and updated year. General Comments: Based on a review of the material submitted, the following comment applies: The notification application is acceptable. A copy of the accepted notification has been inserted in your file for future reference. Should you have any questions or comments concerning this letter, please contact Adam Heyward via email at heyward. adam(q),epa.gov or by telephone at (703) 347-0274 during the hours of 6:00 am to 2:30 pm EST. MbWsBS Harris^ Product Manager (32) Regulatory Management Branch II Antimicrobials Division (751 OP) a/Sf Plftte reid instruction* on nv»r*e b»for» coir I'm form. Form Aporov OMB No. 2070-O06O. Approval expire* 2-28-95 United States Registration OPP Identifier Number Environmental Protection Agency &EPA Amendment EL0359 Washington, OC 20460 Other Application for Pesticide - Section I 1. Company/Product Number 2. EPA Product Manager 3. Proposed Classification 5813-1 Monisha Harris None Restricted 4.
    [Show full text]
  • Schoolgirl RPG Complete Edition
    Schoolgirl RPG Complete Edition By Ewen Cluney Sample file 1 Credits Presented by Yaruki Zero Games (www.yarukizerogames.com) Original Maid RPG design by Ryo Kamiya Written by Ewen Cluney (©2014) Cyborg Catgirl Art by Wossa and Dawn Davis The following icons are used under a Creative Commons Attribution license: Dice by Les Kleuver Girl by Andrew McKinley Catgirl by Nick Green Swimmer by Cristina Gallego Woman by Nicolas Morand Woman by Matt Brooks Cockroach by Michael Thompson VHS icon by Mike Wirth Hammer by Michael A. Salter Energy Drink by Daniel Brunsteiner Syringe by Richard Pasqua Male icon by Rahul Anand Bomb icon by Maximilian Becker Shinai icon by Luke Anthony Firth Star icon by Vincent BARSE Nunchucks icon by Stephen Copinger Color-Fan by Dan Hetteix Sample file 2 Table of Contents Introduction ..................................... 5 Teacher Rules ................................ 47 Character Creation .......................... 9 1. Attributes ................................... 49 1. Attributes .................................... 11 2. Subject ........................................ 49 2. Special Qualities .......................... 11 3. Special Qualities ......................... 50 3. Stress Explosion .......................... 12 4. Stress Explosion ......................... 50 4. Colors ......................................... 12 5. Weapon ..................................... 51 5. Stress Limit .................................. 12 6. Colors ......................................... 52 6. Details ........................................
    [Show full text]
  • Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Bleach, the Final Frontier
    BLEACH, THE FINAL FRONTIER By dj Date Masamune Also, friendly reminder from Kenpachi-sama… Need to Knows • Panel will be available online + my resources on my blog • Will upload .pdf of PowerPoint that will be available post-con • Contact info. • Take a business card before you leave • If you have any questions left, feel free to ask me after the panel or e-mail me • ‘Discussion panel’ is nothing w/o the discussion part ~^.^~ How It’s Going to Be… • For every arc, I’ll do a super quick, super basic summation (accompanied by a crapload of pics), then everyone else can add in their own things, move the crap on rapidly, rinse & repeat • i.e., everyone gets a chance to talk • So, none of that “anime expert”/“I know more than the panelist” b.s. • Important mindset to have: Bleach is a recently ended train wreck you can never look away from Tite Kubo Audience SO LET’S GET STARTED~! & may kami-sama help us all ~.~; AGENT OF THE SHINIGAMI, SNEAK ENTRY, & THE RESCUE ARC Episodes 1-63 Manga: 1-182 Ishida Uryuu Chad Yasutora Ichigo Kurosaki Orihime Inoue Chizuru Honsho Mizuiro Kojima Asano Keigo Tatsuki Arisawa Mizuho Asano Yuzu & Karin Don Kanonji Kon Genryusai Yamamoto Soi Fon Gin Ichimaru Retsu Unohana Sousuke Aizen Zanpakuto: (Sui-Feng) Zanpakuto: Zanpakuto: Zanpakuto: Ryujin Jakka Zanpakuto: Shinsou Minazuki Kyoka Suigetsu Suzemabachi Zanpakuto: Bankai: Bankai: Bankai: Zanka no Tachi Kamishini no Yari *Suzumushi Jakuho Raikoben Bankai: Zanpakuto: Zanpakuto: Suzumushi Senbonzakura Tenken Tsuishiki: Enma Bankai: Bankai: Zanpakuto: Korogi Senbonzakura
    [Show full text]
  • The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
    THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States.
    [Show full text]
  • US EPA, Pesticide Product Label, CPPC ULTRA BLEACH 2, 08/29
    UNITED STATES ENVIRONMENTAL PROTECTION AGENCY WASHINGTON, DC 20460 OFFICE OF CHEMICAL SAFETY AND POLLUTION PREVENTION J Evelyn Lawson Clorox Professional Products Company c/o PS&RC PO Box 493 Pleasanton, CA 94566-0803 Subj ect CPPC Ultra Bleach 2 EPA Registration Number 67619-8 Letter Date August?, 2012 EPA Receipt Date August 8,2012 Dear Ms Lawson This acknowledges receipt of the following notification, submitted in accordance with the provisions of PR Notice 98-10 under the Federal Insecticide, Fungicide, and Rodenticide Act (FIFRA) section 3(c)9 Proposed amendments • Added infant safety pictogram, two new graphics for subregistration use (washing machine), and ingredient disclosure website • Updated EPA Establishment Nos " Corrected a typo at bottom of page 23 General Comments Based on a review of the material submitted, the notification as referenced above is acceptable A copy of the label has been added to the product's file Should you have any questions or comments concerning this letter, please contact Eliza Blair via email at blair ehza(q),epa gov or by telephone at (703) 308-7279 Sincerely, >msha 'n >duct Manager (32) Regulatory Management Branch II Antimicrobials Division (751 OP) Pfetse read instruction* on nvene baton ing form Form Approvr OMB No 2070-006O. Approval expire 2 28 95 United States Registration OPP Identifier Number Environmental Protection Agency Amendment xvEPA EL0459 Washington DC 20460 Other Application for Pesticide - Section I 1 Company/Product dumber 2 EPA Product Manager 3 Proposed Classification 676198
    [Show full text]
  • Japanese Manga and Its Buds Lynne, Miyaki Final Project Bleach
    Priest 1 Alexander Priest May 2013 Jpnt 179 Graphically Speaking: Japanese Manga and Its Buds Lynne, Miyaki Final Project Bleach ‘Live Action’ Screenplay This is a satirical screenplay of the manga series created by Tite Kubo. Priest 2 Introduction: There haven’t been many American ‘live action’ movie adaptations of manga. There was a brief period, where movies Speed Racer (2008), Astro Boy (2009), and Dragonball Evolution (2009) debuted and theatres, but they would receive negative or mixed reception. To commemorate these movies, I have drafted an intentionally horrible screenplay for my imaginary movie, Bleach: Soul Reaper ™. Unfortunately, I was not able to create that would actually span an entire movie. A myriad of difficulties and challenges embodies the difficulties that come with creating these adaptations in the first place. Firstly, I have had a lack of experience in screenplay writing. My second struggle came with adapting the much-loved Bleach and trying to corrupt it for the sake of satire. Maintaining a coherent storyline is difficult when you are also trying tamper with existing plots and storylines. Adaptations will always contradict the source material, it is inevitable, but much effort goes in deciding what should and shouldn’t be changed. Successfully fulfilling the notion of a “terrible adaptation” proves more challenging than initially expected. Thirdly, I didn’t know how to keep the screenplay informative without inserting footnotes to provide context and justification. The purpose of this project is to reveal common mistakes and disastrous trends within American interpretations of Japanese source materials, so I created a portion of a live-action screenplay that embodies this.
    [Show full text]
  • When I Open My Eyes, I'm Floating in the Air in an Inky, Black Void. the Air Feels Cold to the Touch, My Body Shivering As I Instinctively Hugged Myself
    When I open my eyes, I'm floating in the air in an inky, black void. The air feels cold to the touch, my body shivering as I instinctively hugged myself. My first thought was that this was an awfully vivid nightmare and that someone must have left the AC on overnight. I was more than a little alarmed when I wasn't quite waking up, and that pinching myself had about the same amount of pain as it would if I did it normally. A single star twinkled into existence in the empty void, far and away from reach. Then another. And another. Soon, the emptiness was full of shining stars, and I found myself staring in wonder. I had momentarily forgotten about the biting cold at this breath-taking sight before a wooden door slammed itself into my face, making me fall over and land on a tile ground. I'm pretty sure that wasn't there before. Also, OW. Standing up and not having much better to do, I opened the door. Inside was a room with several televisions stacked on top of each other, with a short figure wrapped in a blanket playing on an old NES while seven different games played out on the screen. They turned around and looked at me, blinking twice with a piece of pocky in their mouth. I stared at her. She stared back at me. Then she picked up a controller laying on the floor and offered it to me. "Want to play?" "So you've been here all alone?" I asked, staring at her in confusion, holding the controller as I sat nearby.
    [Show full text]
  • Hypersphere Anonymous
    Hypersphere Anonymous This work is licensed under a Creative Commons Attribution 4.0 International License. ISBN 978-1-329-78152-8 First edition: December 2015 Fourth edition Part 1 Slice of Life Adventures in The Hypersphere 2 The Hypersphere is a big fucking place, kid. Imagine the biggest pile of dung you can take and then double-- no, triple that shit and you s t i l l h a v e n ’ t c o m e c l o s e t o o n e octingentillionth of a Hypersphere cornerstone. Hell, you probably don’t even know what the Hypersphere is, you goddamn fucking idiot kid. I bet you don’t know the first goddamn thing about the Hypersphere. If you were paying attention, you would have gathered that it’s a big fucking 3 place, but one thing I bet you didn’t know about the Hypersphere is that it is filled with fucked up freaks. There are normal people too, but they just aren’t as interesting as the freaks. Are you a freak, kid? Some sort of fucking Hypersphere psycho? What the fuck are you even doing here? Get the fuck out of my face you fucking deviant. So there I was, chilling out in the Hypersphere. I’d spent the vast majority of my life there, in fact. It did contain everything in my observable universe, so it was pretty hard to leave, honestly. At the time, I was stressing the fuck out about a fight I had gotten in earlier. I’d been shooting some hoops when some no-good shithouses had waltzed up to me and tried to make a scene.
    [Show full text]
  • 2. Case Study: Anime Music Videos
    2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
    [Show full text]
  • Subculture As Social Knowledge: a Hopeful Reading of Otaku Culture
    DE GRUYTER Contemporary Japan 2016; 28(1): 33–57 Open Access Brett Hack* Subculture as social knowledge: a hopeful reading of otaku culture DOI 10.1515/cj-2016-0003 Abstract: This essay analyzes Japan’s otaku subculture using Hirokazu Miya- zaki’s (2006) definition of hope as a “reorientation of knowledge.” Erosion of postwar social systems has tended to instill a sense of hopelessness among many Japanese youth. Hopelessness manifests as two analogous kinds of refus- al: individual social withdrawal and recourse to solipsistic neonationalist ideol- ogy. Previous analyses of otaku have demonstrated its connections with these two reactions. Here, I interrogate otaku culture’s relationship to neonationalism by investigating its interaction with the xenophobic online subculture known as the netto uyoku. Characterizing both subcultures as discursive practices, I argue that the similarity between netto uyoku and otaku is not one of identity but one of method. Netto uyoku discourse serves to perform an imagined na- tionalist persona. While otaku elements can be incorporated into netto uyoku performance, other net users invoke the otaku faculty of parody to highlight the constructed nature of netto uyoku identity through ironic recontextualiza- tion. This application of otaku principles enables a description of otaku culture as a form of social knowledge, reoriented here to defuse the climate of hope- lessness purveyed by the netto uyoku. In the final section, I offer examples of subcultural knowledge being applied to national and international issues in order to indicate its further potential as a source of enabling hope for Japanese youth. Keywords: otaku, subculture, nationalism, Internet, media studies, Japanese studies, cultural studies 1 Introduction This essay investigates social orientations within Japanese subcultures accord- ing to anthropologist Hirokazu Miyazaki’s (2006: 160) definition of hope as a * Corresponding author: Brett Hack, Aichi Prefectural University, E-mail: [email protected] © 2016 Brett Hack, licensee De Gruyter.
    [Show full text]