Cosplay at Armageddon Expo*

Home , Akiyuki Shinbo, Armageddon (convention), Bones (studio), Lara Croft, Manglobe

Journal of Geek Studies

jgeekstudies.org

Paul Mountfort1, Anne Peirson-Smith2 & Adam Geczy3 1 Auckland University of Technology, Auckland, New Zealand. 2 City University of Hong Kong, Kowloon, Hong Kong. 3 University of Sydney, Sydney, Australia. Emails: [email protected]; [email protected]; [email protected]

Cosplay is a performance medium in ic way in which glocalized conventions de- which embodied textual citation and photo- velop and proliferate. It began as a comics graphic practices come together and some- and trading card event in Auckland, New times collide. Moreover, photography both Zealand, in 1995 with follow-ups in 1997, documents and preconditions elements of and within a few short years had spread to the cosplay performance, via visual genres the capital city, Wellington (1998), and on typically spanning those of the fashion run- to Melbourne, Australia (1999).2 Starting off way, studio and ‘hallway’ shoots. This chap- in small community venues, progressing to ter brings these textual and visual analyses more major urban events centres, and on to together to present a situated photo-essay large-scale convention spaces, the Expo has shot in the candid style. It documents five evolved into a major regional sci-fi, comics years of an Australasian-based fan conven- and gaming convention with over 80 events tion that celebrated its twentieth anniver- to date, some 70,000 annual visitors in its sary in 2015, the Auckland Armageddon home city and 130,000 across its Austral- Expo. In doing so it offers a snapshot, as asian diaspora. In aggregate, it is, therefore, it were, of a half decade of ‘glocalized’ co- close in scale to San Diego’s annual Com- splay practice. The term ‘glocalization’ re- ic-Con and exhibits a similar mix of cultural fers to twin processes at work in late capital. and industry practices. While the Auckland Firstly, capital and regulatory frameworks Expo has some factors that are specific to its elide from the national upwards to the glob- geographic location, genealogy as a gaming al scale and reciprocally downwards to the and fan con, specifics of the main site and scale of the local. Secondly, economic activi- its mix of events, the photos in this chap- ties and networks between business entities ter could have been taken at almost any con become simultaneously more localized, re- in the western world, both in terms of the gionalized and transnational.1 This model diversity of participants and the franchises, has been widely applied to the sphere of storyworlds and other source media texts cultural capital and is of particular rele- represented in the costumes on display. vance to cosplay, which tends to grow by The first part of the commentary, which fol- osmosis out of local conditions but owes its lows, discusses the range of sources being provenance to wider networks of cultural cited—the individual trees amid the forest production and associated fandoms. of citations—along with some identifiable trends in the 50 photographs that comprise Armageddon is an instance of the organ- this selection.

* This is an extract from Chapter 3 of Planet Cosplay: Costume Play, Identity and Global Fandom, by Paul Mountfort, Anne Peirson-Smith and Adam Geczy (Bristol, UK: Intellect Books; Chicago, US: University of Chicago Press, 2018). Reprinted with permission by Intellect Books. Note that this version may display minor editorial differences to the final published version.

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Figure 1. Q from [C] The Money of Soul and Possibility Control (2011), contest event, Auckland Armageddon Expo 2012. © Paul Mountfort.

Figure 3. Applying prosthetics, Auckland Armaged- don Expo 2012. © Paul Mountfort.

Figure 2. ‘Heath Ledger’s’ Joker from The Dark Knight Figure 4. Scene outside the convention space, Auck- (2008), Auckland Armageddon Expo 2012. © Paul land Armageddon Expo 2013. © Paul Mountfort. Mountfort. Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

Figure 5. Bane from The Dark Knight Rises (2012) and Figure 7. Thorin Oakenshield (left) from The Hobbit Harley Quinn from DC universe, Auckland Arma- (2012–2014) and steampunk cosplayer (right), Auck- geddon Expo 2013. © Paul Mountfort. land Armageddon Expo 2013. © Paul Mountfort.

Figure 6. Display mannequin, Auckland Armaged- Figure 8. Namine and Roxas (left and centre) from don Expo 2013. © Paul Mountfort. Kingdom Hearts (2002–), with Korra (right, background) from Legend of Korra (2012–14), Auckland Armaged- don Expo 2013. © Paul Mountfort. 93 Mountfort et al.

Figure 11. Vendor with mood-reading nekomimi (cat ears), Auckland Armageddon Expo 2013. © Paul Mountfort.

Figure 9. Menma from Anohana (2011), Auckland Ar- mageddon Expo 2013. © Paul Mountfort.

Figure 10. Naruto from Naruto Shippuden (2007–7), Figure 12. Onision ‘I’m a banana’ meme cosplay, Auckland Armageddon Expo 2013. © Paul Mount- Auckland Armageddon Expo 2013. © Paul Mount- fort. fort.

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A cosphoto-essay some cosplay, being, in any case, modelled after what Matthew Hales terms a generic With the identity of the cosplayers in- (as opposed to discrete) character type7 or cluded in this chapter being anonymous, fashion style rather than a titular protago- the focus of discussion here is on the char- nist—though these two dimensions (characters and source texts identifiable in the acter type and style) often go hand in hand. sample of photos on display, and the pop- Common western character types include ular cultural milieu out of which they have vampires, zombies and other genera of the arisen. Many of the sources being mined undead, who shuffle convention spaces here are comparatively ‘timeless,’ hark- alongside Japanese-inspired samurai, nin- ing back decades to milestones in their jas, shōnen (boys) and shōjo (girls), including respective media, such as the 2014 San co- sub-types such as bishōnen (beautiful boys) splay and crossplay (Figures 23 and 40) in- and mahō shōjo (magical girls). Among the spired by Studio Ghibli’s Princess Mononoke most important generic styles—which may 3 (Mononoke Hime) (1997). Half a decade is comprise not just fashion but lifestyles— long enough, however, for micro-historical are Lolita and steampunk. As previously forces to operate in fan cultures, wherein discussed, these styles have often infected recent movies, games and media elements source media, such as anime and manga. enjoy rapid waves of meme-like popularity. Furthermore, crossovers and mash-ups Of course, even the most up-to-the-minute abound, especially at larger cons with more sources being cosplayed may spring from established player communities who have long-lived media franchises. For instance, the confidence to push cosplaying -bound Marvel or DC’s blockbuster transmedia sto- aries. This said, superhero action fran- ryworlds have comic book precursors going chises, sci-fi and fantasy television shows, back to the 1930s and 1940s. However, par- multi-season anime series and protagonists ticular movie or game adaptions are often from popular gameworlds tend to be the very specific: for example, a 2012 costume dominant fauna at most cosplay cons. of The Joker (Figure 2) is not any old joker but identifiably Heath Ledger’s Joker from There are identifiable cultural fashions Nolan’s The Dark Knight (2008). Similarly, within cosplay, and one of the affordances the 2016 release of the movie Suicide Squad, of an extended photographic study is that set in the DC Comics universe, indelibly we are able to see how the portrayal of cer- marked the portrayal of Harley Quinn in tain characters, or iterations of certain char- that year.4 Nor do new waves of influence acters, spike in relation to recent film, game always overwhelm old favourites: storm- and other media releases. Photos from Ar- troopers and even sets from the original mageddon taken between 2012 and 2016 Star Wars (1977–83) trilogy jostle alongside document a number of character iterations Sith and other characters from the more re- from Marvel and DC. Both are deep-rooted cent prequels and sequels (Figures 25, 35 comics franchises from the early twentieth and 36).5 century that have had many iterations, adaptations and spin-offs over the decades, Identifying the ‘trees’ in the forest of and which are now the subject of multiple citations that comprise even a medium-size big movie and television series versions. convention would prove a challenging, if Marvel exerts a particularly powerful gravi- not impossible, task for even the most pop tational pull on western cosplay today, with culturally literate geek or otaku. This is be- Avengers franchise characters such as Cap- cause, as we have seen, cosplay draws on tain America (Figure 32) much in evidence multiple media sources: comics, movies, in the wake of the Captain America: The First manga, anime, games, pop idols and oth- Avenger (2011), The Winter Soldier (2014) er media identities, as well as online me- and Civil War (2016) instalments.8 The in- mes. Most, though not all, of the costumes terconnected nature of the Marvel universe, 6 in this essay proved readily identifiable. where the storylines of characters from dis- However, others were more elusive, with crete shows intersect at various junctures,

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Figure 13. Samurai cosplay, Auckland Armageddon Figure 15. Colossal Titan (centre, foreground) from At- Expo 2013. © Paul Mountfort. tack on Titan (2009–), Auckland Armageddon Expo 2014. © Paul Mountfort.

Figure 14. Zipper face nurse meme cosplay, Auck- Figure 16. Armoured anime cosplay, Auckland Ar- land Armageddon Expo 2013. © Paul Mountfort. mageddon Expo 2014. © Paul Mountfort.

Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

Figure 17. Horse mask meme cosplay, Auckland Ar- Figure 19. Cosplayer with police jacket, Cloud from mageddon Expo 2014. © Paul Mountfort. Final Fantasy (1988) left shoulder plate, and convention merchandise, Auckland Armageddon Expo 2014. © Paul Mountfort.

Figure 18. Madame Vastra from Doctor Who Series 6 Figure 20. Quidditch player from Harry Potter (2001– (2011), Auckland Armageddon Expo 2014. © Paul 11) franchise, Auckland Armageddon Expo 2014. © Mountfort. Paul Mountfort. 97 Mountfort et al.

Figure 21. Ring Wraith from The Lord of the Rings Figure 23. San from Mononoke Hime (1997) Auckland (2001–03) movie trilogy, Auckland Armageddon Armageddon Expo 2014. © Paul Mountfort. Expo 2014. © Paul Mountfort.

Figure 22. Titular lead character from DC Comics’ Figure 24. Titular lead character from Sculduggery Scarecrow (1941–), Auckland Armageddon Expo 2014. Pleasant (2007–), Auckland Armageddon Expo 2014. © Paul Mountfort. © Paul Mountfort.

Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo rewarding fans focused on the detailed at Armageddon 2014 stormtroopers from timelines and backstories, provides the per- the first Star Wars (1977) movie (Figure 25), fect template for the kind of vast inter-ref- a Ringwraith (Figure 21) and Quidditch erential networks that operate within the player (Figure 20) were in evidence despite cosphere. the original Star Wars trilogy dating back to 1977–83, Lord of the Rings from 2001–03 In recent years DC has made serious and Harry Potter from 2001–11.12 Of course, moves to mimic Marvel’s integrated story- like the DC and Marvel storyworlds, these worlds in an attempt to establish its own cinematic works have deep and massive universe, though with mixed success. As roots in popular culture, functioning prac- mentioned, ‘Heath Ledger’s’ Joker (Figure tically as cultural mythologies in the west, 2) was cited at Armageddon in 2012, four and continue to have currency courtesy of years after the release of DC’s The Dark the follow up Star Wars prequels, sequels Knight (2008). Ledger’s Joker attained icon- and spinoffs (1999–), The Hobbit movie ad- ic status not just through his riveting per- aptation (2013–14) and Harry Potter prequel formance and the relative critical acclaim (2016).13 The troupe of stormtroopers who 9 of Christopher Nolan’s Batman trilogy but posed in 2014 against a lovingly re-creat- also due to the actor’s tragic death in the ed backdrop from the original Death Star same year as the movie’s release, which returned in 2015 to find themselves joined cemented his cult following in popular cul- by a red guard (Figure 35) from Star Wars ture and ensured both actor and character II: Attack of the Clones 2002 and a scruffy iteration a viral afterlife. Nolan’s trilogy ‘sandtrooper’ from the extended Star Wars restored a cachet to the Batman storyworld universe (Figure 36). Characters from the notably lacking for DC in the pantheon of wider Star Wars universe may also make contemporary popular culture, including cameos, such as the Twi’lek woman from cosplay circles. Hence characters such as Armageddon 2014 (Figure 27). Although 10 the Scarecrow (Figure 25), who was the not an identifiable character from the can- only villain of genuine vintage to star in the on, such as Aayla Secura, she is clearly a entire rebooted Batman trilogy (2005–12), member of the alien species that figure in Bane and Harley Quinn (Figure 5) show- the television series Star Wars: The Clone ing up in cosplaying circles following the Wars (2008–15). Creative adaptations from 2012 release of The Dark Knight Rises, even the storyworld are fairly common in cos- though Quinn does not appear in this par- play, and could be described as fan-driven ticular trilogy. She has had many iterations spinoffs, akin to fanfiction’s world building. and her popularity spiked in 2016’s Ar- mageddon in response to Suicide Squad’s Legacy movies that are not part of a (2016) fishnet stockings and baseball bat larger franchise or storyworld can also pro- toting version (Figure 39, 50), even though vide cosplayers with material, especially the movie itself was ambivalently received. where the imagery is iconic or has proved Superman and Wonder Woman undergo to ‘have legs’ in popular culture. Examples periodic revivals, with 2016’s Armageddon include the ubiquitous V For Vendetta (2006) showcasing both female and crossplaying masks that reference not only the film, but versions (Figure 48) in anticipation of the the Occupy movement, the cyber-insurgent Wonder Woman’s 2017 Warner Brothers’ re- group Anonymous and, more recently, boot directed by Patty Jenkins, while the NBC-Universal hacktivist drama Mr. Ro- Green Arrow (Figure 44) from DC’s The Ar- bot (2015–), in a feedback loop of popular row (2012–) television series reboot also put cultural inter-referentiality (Figure 29).14 in a guest appearance.11 Of course, anonymous masks may also be a cheap and easy way to simulate cosplay While some character iterations clear- while retaining an aura of subcultural capi- ly follow more or less ephemerally on the tal that other mass-produced masks do not heels of a movie or other media release, oth- convey. A movie’s cult status may ensure ers enjoy relative longevity. For example, the relative immortality of its characters in

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Figure 25. Stormtroopers with fan-constructed backdrop from Star Wars IV: A New Hope (1977), Auckland Armageddon Expo 2014. © Paul Mountfort.

Figure 27. Twi’lek woman from the Star Wars: The Clone Wars (2008–15), Auckland Armageddon Expo 2014. © Paul Mountfort.

Figure 26. An Ood from Doctor Who Series 4 (2006), Figure 28. Fantasy figure, Auckland Armageddon Auckland Armageddon Expo 2014. © Paul Mount- Expo 2014. © Paul Mountfort. fort.

Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

Figure 29. V for Vendetta (2006) mask, Auckland Ar- Figure 31. Zombie nurses cosplay meme, Auckland mageddon Expo 2014. © Paul Mountfort. Armageddon Expo 2014. © Paul Mountfort.

Figure 30. Yami from Yu–Gi–Oh franchise (1998–), Figure 32. Captain America (2011–), Auckland Arma- Auckland Armageddon Expo 2014. © Paul Mount- geddon Expo 2015. © Paul Mountfort. fort.

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Figure 33. Yukata and kimono cosplaying pair, Auck- Figure 35. Red Guard from Star Wars II: Attack of the land Armageddon Expo 2015. © Paul Mountfort. Clones (2002), Auckland Armageddon Expo 2015. © Paul Mountfort.

Figure 34. Sakura kimono cosplay, Auckland Arma- Figure 36. Sandtrooper from Star Wars universe geddon Expo 2015. © Paul Mountfort. (2015), Auckland Armageddon Expo 2015. © Paul Mountfort. Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo the cosphere, such as the appearance of the riches and the subcultural cachet afforded eponymous heroine (Figure 37) from Tim by Japanese manga, anime and gaming. As Burton’s Corpse Bride (2005) coming back with live action, characters from classic an- to life in 2015.15 Long running movie series ime staples continue to appear, such as the spread out over years mean that the distinc- face-painted, dagger-wielding San (Figures tion between legacy and current characters 23 and 40) from Princess Mononoke (Mono- is often fluid.Pirates of the Caribbean’s (2003- noke Hime) (1997), along with many other )16 Jack Sparrow is the source of numerous Studio Ghibli characters and those from memes and has been widely cosplayed, other anime studios, such as Toei Anima- there even being a professional cosplayer in tion, Sunrise, Production I.G., Madhouse, Italy who has based his career on cosplay- Manglobe, Studio Pierrot, PA Works, Kyoto ing Sparrow. ‘Jack’s’ appearance at Arma- Animation and Bones. Characters from an- geddon in 2016 could be a back reference ime TV series spotted at Armageddon in- to instalments 1–4 of the seemingly endless clude Menma (Figure 9) from A-1 Picture’s Pirates movie franchise mill, or may have Anohana: The Flower We Saw That Day (Ano anticipated 2017’s much dreaded Dead Men Hi Mita Hana no Namae o Bokutachi wa Mada Tell No Tales. Shiranai) (2011), Q (Figure 1) from [C] The Money of Soul and Possibility Control (2011), There are character iterations, and then Mami Tomo (Figure 42) from Puella Magi there are regenerations (when dealing with Madoka Magica (Mahō Shōjo Madoka Magi- a certain 2822-year-old Timelord). Among ka) (2011), along with abundant fauna from the many television shows that jostle for big ticket franchises such as One Piece (Wan attention with characters from live action Pīsu) (1997–), Bleach (Burīchi) (2001–) and movies, the long-running British sci-fi series Naruto (1999–) (Figure 10).20 Doctor Who (1963–) is a particularly popular media source. Contemporary characters Game characters are a widely repre- (e.g. Madame Vastra, Figure 18) rub shoul- sented—and perhaps the fastest grow- ders with both ‘classic’ and more recent ing—fictional demographic at cosplay cons, iterations of the Doctor, as do daleks and doubtless due to the massively increased newer menaces such as Weeping Angels, penetration of gaming platforms into peo- the Master in ‘his’ gender bending guise of ple’s homes in the early twenty-first century. Missy and The Ood (Figure 26). Along with Among the many examples of stand-alone sci-fi shows, quasi-historical series such as game series characters in 2016, for example, Spartacus (2010–13), represented by a slave was Shay Patrick Cormack (Figure 49) from gang (Figure 38) and, particularly, fanta- Assassin’s Creed (2007–).21 However, games sy TV shows have massive constituencies, are widely transmediated and evince com- with Game of Thrones (2011–) being a major plex relations with other media. There are, source of cosplay performance.17 Occasion- of course, the manga/anime/trading game ally, characters from popular novels that tie-ins, resulting in cons being stacked with are not transmediated, such as the titular endless Pokémon (1995–)22 characters along hero (Figure 24) from Skulduggery Pleasant with identities from other systems such (2007–), are cosplayed, ostensibly based on as Yami (Figure 30) from Yu–Gi–Oh! (Yū book cover and fan art.18 Gi–Ōh!) (1996–).23 These franchises are tru- ly gargantuan, with Pokémon alone having Western animation is sometimes adapted grossed close to US $50 billion prior to the for cosplay, notable examples being Avatar: release in 2015 of the short-lived augmented The Last Airbender (2005–8) and The Legend reality (AR) craze for Pokémon GO.24 Their of Korra (2012–14) (Figure 7). However, Jap- reach and formative influence on Millenni- anese visual media comprise the twin lode- als and Generation Z make it unsurprising star, along with western live action films that they constitute a major source for co- and television, around which contemporary splay performance. Many characters and cosplay gravitates globally. This is doubt- storyworlds migrate from manga to anime less due to the sheer profusion of visual and onto gaming platforms, such as Naru-

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Figure 37. Titular character from Corpse Bride (2005), Figure 39. Harley Quinn, Suicide Squad (2016) iter- Auckland Armageddon Expo 2015. © Paul Mount- ation, Auckland Armageddon Expo 2016. © Paul fort. Mountfort.

Figure 38. Slave gang cosplay from Spartacus (2010– Figure 40. San crossplay from Princess Mononoke 13), Auckland Armageddon Expo 2015. © Paul (1997), Auckland Armageddon Expo 2016. © Paul Mountfort. Mountfort. Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

Figure 41. Lara Croft from the Tomb Raider (1997–) Figure 43. Hatsune Miku, digital character from franchise, Auckland Armageddon Expo 2016. © Paul Hatsune Miku V4X Bundle (2007) synthesizer appli- Mountfort. cation, Auckland Armageddon Expo 2016. © Paul Mountfort.

Figure 42. Mami Tomo from Puella Magi Madoka Mag- Figure 44. The Green Arrow from DC’s The Arrow ica (2011), Auckland Armageddon Expo 2016. © Paul (2012–) television series reboot, Auckland Armaged- Mountfort. don Expo 2016. © Paul Mountfort. 105 Mountfort et al.

to and One Piece. Indeed, the anime/games ences. crossover is a huge subject that could easily comprise a book in itself. In Japan, characters from transmedia storytelling franchises are sometimes also Quite apart from trading games, there pop cultural idol (aidoru) figures who may is a broad distinction between games that embody, or are embodied by, real-life ava- have evolved out of manga/anime source- tars, from media celebrities to café ‘maids’ texts and those that were games first but and ‘butlers.’ Some also may be stand-alone have subsequently been made into movies complexes, so to speak. The Hatsune Miku or television series. Thus, for example, the cosplay (Figure 43) at Armageddon 2016 Colossal Titan (Figure 15) from Attack on comes from a digital avatar used in a syn- Titan (Shingeki no Kyojin) (2009–) references thesizer application Hatsune Miku (2007–) an acclaimed series that has also spawned by Crypton Future Media.29 As a further official and unofficial games, while Namine complication, there are the previously men- and Roxas (Figure 8) are avatars from King- tioned generic character types such as zom- dom Hearts (Kingudamu Hātsu) (2002–), a bies (Figure 31) and fashion subcultures, role-playing action game in the crossover such as Lolita and steampunk (Figure 7) genre—in this case Japanese studio Square that may or may not allude to films and Enix’s characters occupying a setting from games in which specific Lolis and steam- the Disney universe.25 Final Fantasy (Faina- punk characters figure. In some cases one ru Fantajī) (1987–) is a long-running gaming might initially mistake the sackcloth and franchise that was transmediated from the noose tooting costume from 2014 that was original games into films, whileTomb Raider DC’s Scarecrow (Figure 22) as a repurposed (1996–) started as a game and was adapted Halloween mask. Increasingly prevalent is to comics and into movies.26 Lara Crofts of meme cosplay, which is hard to identify for various iterations remain a convention fa- those not in on the joke, and which tends vourite throughout the west (Figure 41), to have a fairly rapid turnover, though less though she is not unknown in Asia. Some so perhaps in coser circles than online. Ex- game characters riff off anime genres, such amples of this include the Onision ‘I’m a as the magical girl anime style of Monimi Banana’ (Figure 12) meme from 2009 and Usami (Figure 45) from Danganronpa 2: zipper-face (Figure 14) and zombie nurse Goodbye Despair (Sūpā Danganronpa Tsū: (Figure 31) memes observed at Armaged- Sayonara Zetsubō Gakuen) (2012),27 despite, don 2013 and 2014, respectively (the former or perhaps because of, the game itself being meme dates back to at least 2011). More shōnon (young male). Indeed, the abstract- generic garb, such as the not-uncommon ed look of many avatars and certain generic ‘horse head’ masks (Figure 17), may be ad- conventions in the depiction of costuming opted as an easy way to come costumed to a and weapons both here and in some anime convention and to create dramatic effect on can make identification of such cosplay the cheap. Finally, where the current gallery sources difficult. For example, some Samu- of photographs is concerned, there are shots rai cosplay (Figure 13) and fantasy figures that document typical kinds of convention (Figure 28) can be hard to distinguish from activity from milling around outside the the general type. Similarly, it can be difficult convention (Figure 4) to common commer- without asking to tell at first glance if a par- cial features of the covered exhibition halls. ticular player is Game of Thrones’ Jon Snow These include the promotional application or The Hobbit’s (2012–14) Thor Okenshield of prosthetics (Figure 3), themed manne- (Figure 7). There are whole books devoted quins (Figure 6) and sale of merchandise, to making Japanese Kimono-inspired cos- such as mood-reflecting nekomimi (cat ears) tumes, ‘because doing so requires special- sold at booths on the convention floor (Fig- ized dressmaking skills that are different ure 11). These ‘costplay’ zones await further from western dress-making techniques’28 documentation within the archives of cos- and the resulting kimono and yukata cosplay photography, as do many other domains, (Figures 33 and 34) can be hard to distin- both physical and virtual, of the ever-ex- guish as genera or specific character refer- panding cosphere.

Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

Figure 45. Monimi Usami from Danganronpa 2: Good- Figure 47. Captain Jack Sparrow from The Pirates of bye Despair (2012), Auckland Armageddon Expo the Caribbean (2003–) movie franchise, Auckland Ar- 2016. © Paul Mountfort. mageddon Expo 2016. © Paul Mountfort.

Figure 46. Unidentified cosplay, Auckland Armaged- igure 48. Eponymous heroes from the long-running don Expo 2016. © Paul Mountfort. Superman (1938–) franchise and Wonder Woman (2017) reboot (left and right), Auckland Armageddon Expo 2016. © Paul Mountfort. 107 Mountfort et al.

Figure 49. Shay Patrick from Assassin’s Creed (2007–) Figure 50. Another Harley Quinn from Suicide Squad video game series, Auckland Armageddon Expo (2016), Auckland Armageddon Expo 2016. © Paul 2016. © Paul Mountfort. Mountfort.

Endnotes 2See Anon., ‘General-Info/History,’ accessed 1 Janu- ary 2018, https://www.armageddonexpo.com/Gen- Note: Many comic, film, television and eral-Info/History/ game series have multiple directors and are 3Princess Mononoke (Mononoke Hime), directed by Ha- the result of collaboration between several yao Miyazaki (Tokyo: Studio Ghibli, 1997), Anime studios, production houses and distribu- film. tors. For the sake of brevity, the following 4Suicide Squad, directed by David Ayer (New York: references limit credit to the main one or Warner Brothers, 2016), Film. two directors, with additional directors not- 5 ed by et al. Author’s names appearing be- Star Wars I: The Phantom Menace, directed by George Lucas (Century City: 20th Century Fox, 1999), Film; fore titles refer to comics or literary works. Star Wars II: Attack of the Clones, directed by George Production credit is generally given to the Lucas (Century City: 20th Century Fox, 2002), Film; distributor, often a dominant partner in the Star Wars III: Revenge of the Sith, directed by George production, due to many works being the Lucas (Century City: 20th Century Fox, 2005), Film; result of collaborations with multiple stu- Star Wars IV: A New Hope, directed by George Lucas (Century City: 20th Century Fox, 1977), Film; Star Wars dios. Readers who wish to know more about V: The Empire Strikes Back, directed by Irvin Kershner the specific commercial and artistic collabo- (Century City: 20th Century Fox, 1980), Film; Star Wars rations that give rise to specific productions VI: Return of the Jedi, directed by Richard Marquand th can find detailed information online. (Century City: 20 Century Fox, 1983), Film; Star Wars: The Clone Wars, produced by Dave Filoni (US: 1See Erik Swyngedouw, ‘Globalisation or “Glocali- Disney/ABC, 2015), Film; Star Wars VII: The Force sation”? Networks, Territories and Rescaling,’ Cam- Awakens, directed by J. J. Abrams (Century City: 20th bridge Review of International Affairs 17, no. 1 (April Century Fox, 2015), Film. 2004).

Journal of Geek Studies 6(2): 91-110 (2019). Cosplay at Armageddon Expo

6Grateful thanks to Jasmin Darnell, Fin Mountfort, Fe- Jackson (New York: Warner Brothers, 2013), Film; The lix Mountfort and to Sye Johnson and his cosplaying Hobbit: The Desolation of Smaug, directed by Peter Jack- circle, for assistance provided to the authors in the son (New York: Warner Brothers, 2014), Film. identification of cosplay characters and other story- 14 world, gameworld and media content for this chap- V For Vendetta, directed by James McTeigue (New ter. York: Warner Brothers, 2006), Film; Mr. Robot, Sam Esmail (US: NBC/Universal Television, 2015), TV se- 7Matthew Hale, ‘Cosplay: Intertextuality, Public ries. Texts, and the Body Fantastic,’ Western Folklore 73, no. 15 1 (2014): 10–14. Corpse Bride, directed by Tim Burton (New York: Warner Brothers, 2005), Film. 8Captain America: The First Avenger, directed by Joe 16 Johnston (Hollywood: Paramount Pictures, 2011), Pirates of the Caribbean: The Curse of the Black Pearl, di- Film; Captain America: The Winter Soldier, directed by rected by Gore Verbinski (Burbank: Walt Disney Stu- Antonio Russo and Joe Russo (Burbank: Walt Disney dios, 2003), Film; Pirates of the Caribbean: Dead Man’s Studios, 2014), Film; The Avengers, directed by Anto- Chest, directed by Gore Verbinski (Burbank: Walt nio Russo and Joe Russo (Burbank: Walt Disney Stu- Disney Studios, 2006), Film; Pirates of the Caribbean: dios, 2014), Film; Captain America: Civil War, directed At the World’s End, directed by Gore Verbinski (Bur- by Antonio Russo and Joe Russo (Burbank: Walt Dis- bank: Walt Disney Studios, 2007), Film; Pirates of the ney Studios, 2016), Film. Caribbean: On Stranger Tides, directed by Rob Marshall (Burbank: Walt Disney Studios, 2011), Film. 9Batman Begins, directed by Christopher Nolan (New 17 York: Warner Brothers, 2005), Film; The Dark Knight, Doctor Who, created by Sydney Newman, C. E. Web- directed by Christopher Nolan (New York: Warner ber and Donald Wilson (London: BBC, 1963–), TV se- Brothers, 2008), Film; The Dark Knight Rises, directed ries; Spartacus, Steven S. DeKnight (Meridian: Starz, by Christopher Nolan (New York: Warner Brothers, 2010–13), TV series; Game of Thrones, directed by Da- 2012), Film. vid Benioff and D. B. Weiss (New York: HBO, 2011–), TV series. 10Scarecrow, Bob Kane and Bill Finger, et al. (Burbank: 18 DC Comics, 1941), Comic book. Derek Landy, Skulduggery Pleasant (London: Harper Collins, 2007). 11Superman, Jerry Siegel and Joe Shudter, et al. (Bur- 19 bank: DC Comics, 1938–), Film; Wonder Woman, di- Avatar: The Last Airbender, Micheal Dante DiMartino rected by Patty Jenkins (New York: Warner Brothers, and Bryan Konietzko (US: Nickelodeon, 2005–8), An- 2017), Film; The Arrow, Greg Berlanti, Marc Guggen- imated TV series; The Legend of Korra, Michael Dante heim, and Andrew Kreisberg (New York: Warner DiMartino and Bryan Konietzko (US: Nickelodeon, Brothers, 2012), Film. 2012–14), Animated TV series.

20 12The Lord of the Rings: The Fellowship of the Ring, di- Anohana: The Flower We Saw That Day (Ano Hi Mita rected by Peter Jackson (Wellington, New Zealand: Hana no Namae o Bokutachi wa Mada Shiranai), directed Wingnut Films, 2001), Film; The Lord of the Rings: The by Tatsuyuki Nagai (Tokyo: A1 Pictures, 2011), An- Return of the King, directed by Peter Jackson (Welling- ime film; [C] The Money of Soul and Possibility Control, ton, New Zealand: Wingnut Films, 2003), Film; The directed by Kenji Nakamura (Tokyo: Fuji TV, 2011), Lord of the Rings: The Two Towers, directed by Peter Anime TV series; Puella Magi Madoka Magica (Mahō Jackson (Wellington, New Zealand: Wingnut Films, Shōjo Madoka Magika), directed by Akiyuki Shinbo 2002), Film; Harry Potter and the Philosopher’s Stone, (Tokyo: Shaft, 2011), Anime TV series; One Piece: De- directed by Chris Columbus (New York: Warner feat Him! The Pirate Ganzack! (Wan Pīsu: Taose! Kaizoku Brothers, 2001), Film; Harry Potter and the Chamber of Gyanzakku), directed by Gorō Taniguchi (Tokyo: Fuji Secrets, directed by Chris Columbus (New York: War- TV, 1988), Anime TV film; Eiichiro Oda, One Piece ner Brothers, 2002), Film; Harry Potter and the Prisoner (Wan Pīsu) (Tokyo: Jump Comics, 1997), Manga; One of Azkaban, directed by Alfonso Cuarón (New York: Piece (WanPīsu), directed by Konosuke Uda et al. (To- Warner Brothers, 2004), Film; Harry Potter and the kyo: Jump Comics, 2003), Anime TV series; One Piece: Goblet of Fire, directed by Mike Newell (New York: Romance Drawn Story! (One Piece: Romansu Dōn Stori), Warner Brothers, 2005), Film; Harry Potter and the directed by Katsumi Tokoro (Tokyo: Toei Animation, Order of the Phoenix, directed by David Yates (New 2003), Anime film; Tite Kubo, Bleach (Burīchi) (Tokyo: York: Warner Brothers, 2007), Film; Harry Potter and Jump Comics, 2001), Manga; Bleach (Burīchi), directed the Half-Blood Prince, directed by David Yates (New by Noriyuki Abe (Tokyo: TV Tokyo, 2004–12), Anime York: Warner Brothers, 2009), Film; Harry Potter and TV series; Bleach Nintendo Home Console (Sega, 2005), the Deathly Hallows—Part 1, directed by Mike Newell Console game; Masashi Kishimoto, Naruto (Tokyo: (New York: Warner Brothers, 2010), Film; Harry Pot- Shōnen Jump, 1999–2014), Manga; Naruto, directed ter and the Deathly Hallows—Part 2, directed by Mike by Hayato Date (Tokyo: TV Tokyo, 2002–7), Anime Newell (New York: Warner Brothers, 2011), Film. TV series; Naruto Shippuden, directed by Hayato Date (Tokyo: TV Tokyo, 2007–), Anime TV series. 13The Hobbit: An Unexpected Journey, directed by Peter 21 Jackson (New York: Warner Brothers, 2012), Film; Assassin’s Creed (Carentoir, France: Ubisoft Enter- The Hobbit: The Desolation of Smaug, directed by Peter tainment SA, 2007–), Computer game.

109 Mountfort et al.

22Pokémon, directed by Kunihiko Yuama et al. (Tokyo: 27Danganronpa 2: Goodbye Despair (Sūpā Danganronpa The Pokēmon Company International, 1997–), Anime Tsū: Sayonara Zetsubō Gakuen) (Tokyo: Spike Chun- TV series. soft, 2012), Computer game.

23Kazuki Takahashi, Yu-Gi-Oh (Yū Gi-Ōh!) (Tokyo: 28Yuniya Kawamura, Fashioning Japanese Subcultures Weekly Shōnen Jump, 1996–2004), Manga; Yu-Gi-Oh (London: Berg, 2012), 79. (Yū Gi-Ōh!), directed by Hiroyuki Kakudō (Tokyo: 29 Toei Animation, 1998), Anime TV series; Yu-Gi-Oh Hatsune Miku V4X Bundle (Chūõku, SPK, Japan: (Yū Gi-Ōh!) Duel Monsters, directed by Kumihisa Crypton Future Media, 2007–), Computer game. Sugishima (Tokyo: TV Tokyo, 2000–4), Anime TV series.

24‘Pokémon,’ accessed 1 January 2018, http://vgsales. About the authors wikia.com/wiki/Pok%C3%A9mon Paul Mountfort is chair of the Auckland Uni- 25Attack on Titan (Shingeki no Kyojin), directed by Ha- versity of Technology Centre for Creative Writ- jime Isayama (Tokyo: Bessatsu Shōnen Magazine, ing, and an editor of The Journal of Asia-Pacific 2009), Anime TV series; Kingdom Hearts (Kingudamu Pop Culture (JAPPC) for Penn. State U Press. Hātsu), Tetsuya Nomura and Shinji Hashimoto (To- kyo: Nintendo Entertainment System, 2002), Anime Anne Peirson-Smith is assistant professor in TV series. the Department of English, City University of Hong Kong. 26Final Fantasy (Fainaru Fantajī), created by Hironobu Sakaguchi (Tokyo: Nintendo Entertainment System, Adam Geczy teaches in the Department of 1987), Console game; Tomb Raider (London: Eidos In- Visual Arts, SCA, at the University of Sydney teractive, 2001–), Console game; Tomb Raider (Los Angeles: Top Crow, 1997); Tomb Raider, directed by and is also an editor of the JAPPC. Simon West (Hollywood: Paramount Pictures, 2001), Film.

Journal of Geek Studies 6(2): 91-110 (2019).