The Otakus Who Walk Among Us (Abridged)

THE OTAKUS WHO WALK AMONG US:
A STUDY ON THE EXPERIENCES OF YOUNG FILIPINOS ON JAPANESE POP CULTURE

April Joy D. Cruz
Larize G. Lee
Gina Margarita D.L. Cabildo

Miriam College

The Otakus Who Walk among Us 1

About the Authors

This paper is the result of the combined effort of April Joy D. Cruz, Larize G. Lee and

Gina Margarita D.L. Cabildo. All three are students under Miriam College‘s flagship course,

Bachelor of Arts Major in Communication.

April Joy D. Cruz has foreign language (Japanese) as her minor, a choice made from

being an avid anime fan since childhood. Her chosen career path is influenced and inspired by

Japanese popular culture. She is a self-proclaimed otaku.

Larize G. Lee has taken an interest in Japanese popular culture from her exposure to two

well-known cosplay events. Her natural inquisitive nature has drawn her to investigate otaku-

ism, a topic alien to her.

Gina Margarita D.L. Cabildo also has a minor in digital media. She has a history of

being a teenage reader and collector of manga. She took part in writing this paper to further

understand why she likes foreign popular culture.


Acknowledgement

Many thanks to the researchers‘ adviser, Mrs. Lynda C. Garcia, M.A., for giving her time,

sharing her knowledge on the subject matter of this paper, her counsel and understanding, and

for recommending various references and sources amply used in this paper. The researchers also

appreciate their thesis coordinator, Mrs. Michelle C. Gadja, M.A., for her relentless and constant

guidance from the conceptualization of the focus of this paper until its conclusion. The

researchers are likewise grateful for the corrections, opinions and points to ponder on shared by

their panelist, Mrs. Ma. Margarita Alvina-Acosta, Ph.D. Also, the researchers extend their

gratitude for the proofreading of their paper as accomplished by Atty. Jorge L. Cabildo.

In addition, the researchers wish to acknowledge their indebtedness to the organizers of

Otaku Expo Reload and UP AME Track 10: Rhapsody in the Rain, for granting them permission

to conduct their survey during their event and for making their representatives, namely Midge Uy

and Ana Madridano respectively, available for the interview. Also, special thanks to Nolaine

Joanne O. Puig for being the middle[wo]man between the researchers and organizers of Otaku

Expo Reload. The researchers are also grateful for Miriam College‟s Library and Ateneo de

Manila„s New Rizal Library for allowing them to make use of the facilities and resources housed

in both establishments. Likewise, the researchers are beholden to the office of the Department of

Communication of Miriam College for providing them the schedules and other paraphernalia

used in fulfilling the requirements of the thesis. Finally, the researchers thank the respondents

and participants who willingly took part in this study.

To all of you and to the countless others who assisted and supported the researchers from

start to finish, again, thanks so much!


Abstract

Japanese popular culture and its proponents have begotten the interest of the youth

allowing it to achieve global heights. This has led to the rise of the otaku subculture and the

creation of diverse events aimed at the propagation of the popular culture movement.

Exploring the personal side of the young Filipino otaku‘s experience of anime and manga

by attending two recognized cosplay conventions is what this paper is all about. This study

highlights how young Filipinos interpret their experience of proponents of Japanese popular

culture from their first impression, contact and assigning significance, until the practice and

communication of their predilection. A specially designed survey which extracts the

demographics, degree of fanaticism, frequency and mode of exposure, and self-rating of young

Filipinos vis-à-vis Japanese popular culture was used as an introductory tool to demarcate otaku

levels. The employment of a focus group discussion to get in-depth responses from the survey

followed suit. Correlating perspectives of young Filipino otakus and organizers of Japanese pop

culture-related events was accomplished via interview.

It was thought that foreign pop culture may have negative effects on nationalistic health;

however as the study progressed, it was discovered that adverse effects to the Filipino identity

formation is extraneous and the ―Japanophile‖ concept is an extreme deviating behavior.

Anime and manga can serve as benchmarks for social and intrapersonal growth among

young Filipino otakus. Such features of the otaku experience and its assortment of channels and

distinct makeup comprise its mass appeal and ground it to further expand.


Table of Contents

About the Authors ....................................................................................................................... 1

Acknowledgement ....................................................................................................................... 2

Abstract ...................................................................................................................................... 3

Table of Contents ........................................................................................................................ 4

Chapter I: Introduction ............................................................................................................... 5

Statement of the Problem ................................................................................................ 7

General and Specific Objectives of the Study ................................................................... 7

Significance of the Study .................................................................................................. 7

Chapter II: Review of Related Literature ..................................................................................... 8

Chapter III: Study Framework .................................................................................................. 13

Chapter IV: Study Design .......................................................................................................... 15

Chapter V: Results and Discussions .......................................................................................... 18

Chapter VI: Summary, Conclusions, and Recommendations ...................................................... 22

References................................................................................................................................. 26

Appendices ................................................................................................................................ 31

Appendix A: Survey Questionnaire ................................................................................ 31

Appendix B: Focus Group Discussion Guide ................................................................. 32

Appendix C: Interview Guide ......................................................................................... 33

Appendix D: Diffusion of Innovations Model by Everett Rogers ..................................... 34

Appendix E: Modified Diffusion of Innovations Model ................................................... 35


CHAPTER I: INTRODUCTION

Contemporarily, a good number of young Filipinos have started indulging in popular

culture or pop culture. Pop culture is the collection of ideas or concepts, perspectives, attitudes

and values coming from a variety of media forms which carry with it influences distributed

amongst members of the society (Storey, 2006, pp. 1-12). However, Philippine pop culture is a

culture of imitation (Cordero-Fernando & Chavez, 2001, p. 7) which suggests that the pop

culture referred to here does not limit itself to ideologies, objects and identities rooted from

Filipino practices; it is basically built on foreign elements with a tinge of Filipino applied to it—

as mentioned in Soledad Reyes‘ paper entitled Narratives of Culture: Managing the Past,

Engaging the Present (as cited in Lontoc, 2003).

One of the many ―foreign elements‖ present in Philippine pop culture, other than those

from the West, comes from the Japanese. Some components of Japanese pop culture that gained

its place within Filipino pop culture are anime (Japanese cartoons), manga (Japanese comics),

cosplay (short for costume play), Jmusic (Japanese music which includes pop and rock), fashion

and Nihon riyori (Japanese cuisine). Among these factors, anime, manga and cosplay have the

strongest following not only within the Philippines but also to several countries in various

continents like the US, Taiwan, Singapore and Hong Kong. The anime, manga and cosplay

movement has spawned fan groups that have given rise to a subculture of otakus who are slowly

introducing themselves to the rest of the world (Brender, 2006).

With technological advancement, information accumulation and dissemination has

become as easy and fast as the click of a mouse. As such, media has developed new channels of

information. These avenues therefore are able to reach far and wide—from one country to the


next, from one culture to another—leading to an almost instant breakdown of barriers between

nations. (―Advantages and Disadvantages of I.T.‖, n.d.; Ahliya, n.d.)

An acculturation of established and modern kinds of media is what Japan has resorted to

in spreading their influences outside their country (Kelts, 2006, pp. 222). Take manga or the

Japanese graphic novel for example, it is Japan‗s adaptation of the American-style comics.

Anime, on the other hand, is the Japanese version of Western cartoons [except for the larger and

more diverse audience it can cater to]. As for cosplay or the act of dressing up as your favorite

anime or game character, though not yet generally accepted and practiced within Japan, has

turned into the latest occupation for many young individuals in several territories like US (Kelts,

2006), Indonesia (Kong, 2009) and even from ―Thailand to Brazil‖ (Zeller, 2009) including the

Philippines.

This then, makes Japanese pop culture especially its components anime, manga and

cosplay to become renowned and accepted worldwide. Several bodies or varying magnitude and

prestige organize events aimed at proponents of the Japanese pop culture. Many young

individuals—especially young Filipinos—have thus been exposed and later on, engaged in such

activities and then consequently hooked into the culture.

The researchers developed a curiosity as to how young Filipinos are experiencing the

emergence of anime, manga and cosplay in the Philippines. As Communication students, the

researchers wish to know more about how these media are able to gain approval across cultures

and nations and what gives it a distinct appeal. Likewise, the researchers are conscious of the

gravity of the use of media, the assortment of data it contains and the manner these media

penetrate and affect different sectors of the society—the youth in particular.


Statement of the problem

―How do young Filipino otakus experience Japanese pop culture such as anime and manga?‖

General Objectives:

To determine the manner with which young Filipino otakus experience anime and manga as

components of Japanese pop culture

Specific Objectives:

1. To find out the average demographics and profiles of Filipino youth [otaku] who are into the

Japanese pop culture

2. To discover how much media contribute in terms of spreading the foreign culture

3. To discern other influences of anime and manga to young Filipinos by identifying the

messages it contains

4. To know if Japanese pop culture impacts the youth in the sense that they want to change

certain aspects of their lifestyle, personality and interactions with other people (e.g. ways of

dressing or their fashion statement, manner of talking and interest in learning the Japanese

language, relationships, and worldview)

5. To determine the factors that influence the Filipino youth into being interested in Japanese

pop culture

6. To classify the Filipino youth under one of the types of adopters of Japanese pop culture

Significance of the Study

This study is intended to take a look at the things that interests many young Filipinos and

to find out the activities they are most likely to be drawn to. This study also paves the way for

understanding young Filipino otakus per se and for young Filipino otakus to review their ways

and interests to include the effects of growing fond of foreign pop culture in contrast to being

supportive of Filipino pop culture.


CHAPTER II: REVIEW OF RELATED LITERATURE

What is Popular Culture for the Philippines and Japan?

“Few subjects range as far and vary as frequently as does popular culture. It seems to

embrace all and to discard much. Its consistency is change… Contemporary popular culture is

all about movement, about seeing things, about buying and having, about being distracted and

entertained…” (Betts, 2004, p. ix)

Popular culture can be illustrated as a commodity meant to satisfy the need for

entertainment of a certain population. It leans toward being something commercial (Betts, 2004)

rather than being an event or period. One simple way to put it according to Richard Hamilton is

that “it is transient, expendable, mass-produced, young, witty, sexy, gimmicky, glamorous, big-

business.” (as cited in Betts, 2004, p. 2)

However, as there is a common ground with how popular culture is outlined, there is a

kind of factor that differentiates popular cultures per nation and culture; an example would be

contrasting Philippine from Japanese popular culture. The Philippine popular culture scene is

often tagged as Pinoy—a nickname that brands what is to be Filipino. Its very essence is

imitation. It is mainly rooted on Western ideals and exhibits a subconscious desire to be that of

the ways of the West. It mimics then labels itself as uniquely Pinoy though lacking a

comprehensive investigation of the material or idea in question. (Cordero-Fernando & Chavez,

2001) On the contrary, the popular culture emanating from Japan is larger in scope due to its

almost indefinite boundary. Under its wing is art, literature, sports and gei (Napier, 2008).

Japan Zone‘s website expands it further to cover entertainment and various industries such as

film [including animated movies], music, show business, gaming, fashion, theatrical


performances and manga. More serious aspects of the country such as business and politics can

also be considered Japanese popular culture (University of Minnesota Press, n.d.).

Reflective of past and present trends is a suitable description to Japanese popular culture

and yet among its many components, anime, manga and cosplay serves as most popular and

encompassing of its nature.

Three Major Proponents of Japanese Popular Culture: Manga, Anime and Cosplay

Manga would be considered the oldest of this three and may as well be considered the

predecessor of most anime titles. It adopts a subjective and dramatic approach originating from

its distinctive use of various comic elements (Toku, n.d.) as compared to American comics

which is its forefather. Bryce, Barber, Kelly, Kunwar, & Plumb (2010) say it is a ―fusion of

Japanese and Western comic art‖. These authors also consider many interlaced genres and

subgenres of manga as “a new, diversified and hybrid work”.

While retaining the more subtle and theatrical means that manga is expressed through,

anime serves to be its moving frame adaptation. Like manga, anime also has quite the

diversified list of genres, majority of which, also intertwined—to a point it is almost indefinable

(Levesque, 2010). More feeling is generated through the movements present in anime; however,

it is factual that the manifestation of characters and their characteristics are anything but

unrealism (Talem, n.d.). Also, the anime is in itself a product of various media capable of being

published through many forms, depending on its length and format (―Anime‖, n.d.). Being an

audio-visual channel too grants it access to musical elements and the rise of the voice acting or

dubbing industry (―Guide to Anime‖, n.d.).

Beyond the tangible channels of manga and anime is the proliferation of the intangible

media dubbed as cosplay. Cosplay is the contraction of the words costume and play and the ter


is actually coined in 1984 by Nobuyuki Takahashi, now known as the ―Father of Cosplay‖

(Zeller, 2009). Uy (2010) gives meaning to the practice by associating it with actors

internalizing their roles in a performance. But other than taking on a personality far from that of

the cosplayer‘s is the agenda of self expression (Caruncho, 2007).

All these three proponents are considerably media able to expand on a global scale. It has

garnered much recognition and acceptance to a point that various popular cultures of varying

territories have adopted it. How then was this possible?

The Contributions of Globalization

Migration, tourism, importation and exportation are some events that opened the gates for

Japanese popular culture to move outside its country. Above anything else, media has to be the

fastest and most influential means for the distribution of the Japanese popular culture says

Allison as cited by Manzenreiter (2002). Like medicine and the many sciences, interest in the

study of the popular culture itself instigated and gave rise to scholarly research and publication

as well as the establishment of academic institutions on national and international scales

(Manzenreiter, 2002; Otmazgin, 2007).

Globalization then is best defined by Funtecha (2009) as “to unify the peoples of the

world into a single society and function together in a harmonious manner”. This, in effect,

traces the Western influence that Japan has acculturated to produce an inimitable media which

she [Japan] returns to the Westerners as a commodity and influence of their popular culture

(Kelts, 2006).

Japanese Pop Culture Facts and Statistics

There has been a mention of Japanese popular culture reaching into the economic,

political and social aspects of the nation. Economic contributions of the popular culture and the


industries it created [publication of manga, production of film, etc.] comprises a considerable

booster. According to statistics (as cited in ―Manga Industry in Japan‖, n.d., p.3) in Japan,

manga comprises 27% for book sales and 20% for magazines sales. The production of doujinshi

or amateur manga created by coteries of otakus make about 10% of books and magazines sold in

bookstores in Japan. The export of manga on the other hand, is able to generate sales to an

approximate 12 billion yen (―Manga Industry in Japan‖, n.d., p. 2). Anime, on the other hand,

begets about 60% of the production of cartoon programs on a global scale according to the

January 2004 report of METI (as cited in ―Japan Animation Industry Trends‖, 2005, p. 7).

The New Subculture: Otaku vs. the Japanophile

Otaku pertains to individuals who “communicates with their equals with the

[unnecessarily] distant and formal pronoun, and spends most of their time at home” (Shinta,

2007). The otaku is also stereotyped as the loner, stay-only-at-home types because they “have

no friends and have trouble relating with the outside world” (Caruncho, 2007).

Outside Japan, however, otaku is better associated with anime and manga. According to

Brender (2006), the otakus represent an enormous subculture in Japan and hundreds of thousands

in other countries, including the United States. To date, the otaku movement is still spreading

overseas.

There is also the classification now dubbed as Japanophile. According to word.iq.com, a

Japanhophile is described as an individual with a strong interest in Japan ranging from an

unusual curiosity towards the country not only in the intellectual level, but it can also point out to

otakus possessing and professing a great deal of knowledge on Japanese culture. The word

Japanophile is actually offensive and it stereotypes those belonging to this group as nerdy and


one who has “a warped perception of Japan or revere it for the lack of identity or success within

their own native country or culture” (wordiq.com).

Synthesis

An assortment of academic and scholarly reviews, news articles, journals and books has

been written to tackle the many facets of Japanese popular culture as well as the global

phenomenon which is known as the otaku subculture. Various authors of different nationalities

from within and outside Japan and the Philippines have broken down many discussions about

Japan‗s cultural, historical and modern characterizations in order to arrive at grasping the secret

behind anime, manga and even cosplay‘s universal appeal. By taking out and digging deep into

the makeup of these proponents, the very essence of Japanese popular culture is shed light upon

and a deeper understanding of which is revealed. In like manner, such endeavors provide for

opportunities to also identify with if not welcome the existence of its enthusiasts. Tantamount to

earlier studies and researches presented in the preceding pages, through this study, anime and

manga or Japanese pop culture‗s popularity and appeal can be traced and at the same time

explore the factors that sets it apart from other popular cultures that has penetrated the

Philippines. Going over to the side of its fanatics or the young Filipino ―otakus‖, their personal

and interlaced experiences can divulge several truths about Japanese popular culture‘s allure as

well as serve as learning points for those who are not or do not want to have any involvement

with it. Further, studying the individuals who are termed ―Otaku‖ may also serve to clarify the

misconceptions and stereotyped branding of society against them. Hence, a better understanding

of the otaku against its extreme, the ―Japanophile‖, and perhaps, clearing the ―otaku‗s name‖

may be realized with the efforts of this study.


CHAPTER III: STUDY FRAMEWORK

Theoretical Framework

Everett Rogers, a professor of communication at the University of New Mexico,

developed the Diffusion of Innovations theory (see Appendix A) in 1955.

The Diffusion of Innovations theory predicts that media and communication can provide

details and information that will later influence members of a culture to adopt a certain idea,

practice, or object (innovation) over a period of time. With this theory, the prowess of mass

media is portrayed well in its effects in terms of the spread or the diffusion process received by a

large audience.

The theory consists of four stages: invention, diffusion or communication, time and

consequences. This simply states that something new is created [invention] for the purpose of

dissemination and/or distribution to the public [diffusion] that will eventually result in either the

recipient‗s acceptance or dismissal [consequences] of the innovation over a period of time.

Adopters are classified into five types: (1) innovators, (2) early adopters, (3) early

majority, (4) late majority, and (5) laggards. This only entails that not everyone adopts or rejects

some innovation at the same pace as the rest. Variables that vary from person-to-person must be

taken into consideration when making use of this theory. Further explanation is as follows: Each

member of the social system or culture encounters his own innovation—decision. Innovation—

decision is when a member of society is introduced to a new idea, object or practice and later,

decides whether or not to accept the innovation. Innovation—decision follows five pronged

processes: (1) Knowledge: a person becomes aware of the innovation, (2) Persuasion: where the

formation of attitudes on a particular innovation occurs, (3) Decision: a person makes a choice of


either adopting or rejecting the innovation, (4) Implementation or application of the innovation,

and (5) Confirmation or the evaluation of results.

Conceptual Framework

According to the Diffusion of Innovations Theory, innovation is any new idea, practice or

object. In this study, the innovation will be referred to as the Japanese pop culture components

anime and manga. Metro Manila, Philippines will stand as the overall social system where the

study is set. Those individuals who will be part of this study will be assessed on the level of their

response to anime and manga. In terms of Knowledge, when people are in some way exposed to

the existence of anime and manga through TV, print and the internet, as well as interpersonal

communication, as with peers, they will have a general understanding of manga and anime. Still

with the aid of media and other forms of communication, these people might get convinced into

being exposed to more Japanese pop culture materials. This in turn may lead into the possibility

of wanting to learn more about them. When these people have already formed an attitude

towards anime and manga and its messages, the Persuasion or the second stage has taken place.

Their attitude will be largely influenced by how they perceive anime and manga‗s characteristics.

The third stage which is Decision will likely depend on the attitude formed. This is where

adopting or rejecting the idea of being like the Japanese comes in due to the influences

incorporated within anime and manga. This decision may not at all be final for they can later

continue or discontinue the adoption, or they may reject it outright or even change their minds

about it. At the fourth stage or Confirmation, evaluation of the previous decision occurs. This

does not, in any way, say that whatever has been chosen is final. In other words, the theory notes

the importance of an ongoing process and that everything is subject to change relative to time.


CHAPTER IV: STUDY DESIGN

This study is basically a multi-method research that has employed the triangulation

approach in its data gathering procedure and research methodologies. In this manner,

methodological triangulation or the use of both quantitative and qualitative research processes

were applied to verify and ensure the objectivity of the information collected and results

produced. Also, this study is of the exploratory type of research design since the angle with

which this study has looked at Japanese popular culture vis-à-vis its followers‘ [young Filipino

otakus] experience the spread thereof integrates the discovery and clarification of certain ideas,

standpoints and the underlying condition of the topic at hand.

Methods and Procedures

In order to achieve the researchers‘ objectives for this study, they applied the following

research methods in the duration of their data gathering: (1) conduct a survey through the

distribution of questionnaires, (2) facilitate a focus group discussion (FGD), and (3) manage an

interview [for the organizers].

Participants

Sample. The researchers concentrated on 108 respondents in the cosplay event with

9.26% of which or ten participants for FGD were chosen and an organizer represented each

cosplay convention event they attended.

Sampling Technique. The researchers employed the purposive sampling technique since

they know who their target respondents were. The respondents they sought for are the typical

cosplay convention-going otaku whose age ranges from 16 to 21. These otakus are characterized

by animated feats or conducts caused by being at the cosplay convention, and were observed as

being able to enjoy it.


Locale. All the methods used in this study‗s data gathering took place within Metro

Manila from the last few weeks of October 2010 until the first few weeks of November of the

same year or approximately during the semestral break for most schools. The survey was

conducted at Otaku Expo Reload held in Mandaluyong City‗s SM Megamall on October 8-10

and UP AME‗s annual convention themed: Now Playing: AME Track 10: Rhapsody in the Rain

held in Pasay City‗s SMX Convention Center on November 6] while the rest of the methods

were subject to a change of place.

Instruments

Survey Questionnaire. The survey questionnaire was strictly designed as the starting

point of an even thorough data gathering procedure. The questionnaire is composed mainly of

yes/no and multiple choice types of questions, with only one number asking for an enumeration.

It contains12 questions that sought to describe the level of fondness of the respondents toward

anime and manga by way of estimating the frequency with which they have been and are

exposed to them, determining which genres appeal to them more, identifying the elements or

finding out certain criteria to aid them in handpicking titles, outlining how much of the popular

culture has had an involvement in their lives and assessing their fanaticism by self-rating through

a set rubric.

Focus Group Discussion Guide. The FGD proper was divided into four main segments

ranging from a general series of questions centered on the participants‘ degree of interest toward

Japan, anime and manga, two groups of questions were meant to segregate the specific types of

adopters and look into their concerns respectively and finally, a three-numbered concluding set

of questions concentrated on the definition of certain terms recurrently used in this study.

Interview Questionnaire. The interview contains seven questions that are directed at


explaining the cosplay convention organizers‘ opinions regarding the proliferation of Japanese

popular culture and otaku-ism in the Philippine setting.

Presentation and Data Analysis

The researchers analyzed the data they gathered by tallying the answers they got from the

surveys into their respective tables under their respective questions. Two sets of files for the two

events were made in order to differentiate the results coming from the different cosplay

conventions. The numerical representations acquired were verified or re-counted three to four

times by the researchers in order to assure the accuracy of the outcome. Both FGD sessions, on

the other hand, were recorded via cellular phone and/or audio recorder. While the FGD was

taking place, the researchers also took down notes. These notes were exchanged to verify the

information written to ensure that audio recorded was transcribed accordingly and matched the

written data.

Classifying the respondents and participants were made in accordance with the Diffusion

of Innovations theory by Everett Rogers. However, the researchers only used the first four kinds

in their categorization, i.e. Innovators (more than five years exposure), Early Adopters (a year to

five years exposure), Early Majority (three months to a year of exposure) and Late Majority (just

recently exposed). This was to set aside [but not to completely ignore] the involvement of those

who do not have any interest in Japanese pop culture or those who have lost interest in it [the

Laggards]. This was undertaken because the researchers found no such category among those

who answered the survey questionnaires in both the Otaku Expo Reload and UP AME Track 10

cosplay conventions.


CHAPTER V: RESULTS AND DISCUSSIONS

Compiled results drawn and analyzed from data gathered through survey (quantitative),

focus group discussions and interviews (qualitative) undertaken by the researchers are presented

in this chapter. These carefully interpreted quantitative and qualitative results helped the

researchers navigate their way into answering the main question this study is basically founded

on: knowing how young Filipinos experience Japanese popular culture such as anime and manga.

The approach with which the interpretations were made are all based on meeting the objectives

of this study, comparing and contrasting yielded results from one another, and correlating

previous studies collected in the second chapter with the results and ascertaining the possibility

of cause and effect relationships between them.

Results

Mean Age. The leading ages [in terms of number] are the 16, 17 and 18 year olds which

are consecutive years of the first half of the qualifying age bracket for this study. Almost both

conventions equated that after the legal age and as one gets older, the lesser in number the otakus

attending and/or participating in such cosplay events become. But this does not isolate anime and

manga fanaticism to the younger market; this study does not provide evidence for such claims.

Yet the variation in age presented by the data stated above can stand for some support as to how

anime and manga can appeal to a wide range of audiences.

Female to Male Ratio. According to data analysis, males still do, by far, dominate [in

terms of attendance] cosplay conventions but they do not necessarily dominate the populace of

otakus whether within the Philippines or outside of it.

Status. More private-schooled students, whether in secondary or tertiary level, are the

kind who have the capacity to frequent cosplay conventions. They are possibly the ones who


have more funds to afford hobbies such as cosplaying or collecting anime and manga or

attending events. But money is not the only basis for the outcome exposed, it is but a factor and

may not be the main or leading factor at that.

Area Proximity. The participants whom the researchers aimed for all came from Metro

Manila, but it is also true that it is still too large an area for the purpose of delineating the

boundary for the study. Identifying in the survey questionnaire where in Metro Manila did they

live made things easier. While identifying the places or cities, the researchers gave consideration

and attention to the locations where the cosplay conventions were held.

Work Experience. As for the representatives of the organizing bodies who made Otaku

Expo and UP AME Track 10 possible, it was necessary to determine the nature of their work,

position, length of employment in the organization, involvement in a number of projects and

flexibility in the tasks given to them to determine the depth of their involvement and and their

experience. What is certain about the representatives is that they did not become part of the

organizing/sponsoring body to satisfy any other need except for becoming part of the Japanese

popular culture extant in the country.

Media, the Bandwagon of Pop Culture. Results pertaining to the contribution of media to

the spread of Japanese popular culture proponents such as anime and manga are due to the (1)

existence [of media] and its use as a vehicle which transports the popular culture from one place

to another (Manzenreiter, 2002), (2) the accessibility of the popular culture through its primary

forms internet or new media (―Anime”, n.d.), television (McClure et. al., 2000; ―Anime”, n.d.)

and CDs or DVDs (―Anime”, n.d.) to be exact, (3) for anime and manga as being media in

themselves characterized by the blend of Western and Asian techniques (Bryce, Barber, Kelly,

Kunwar, & Plumb, 2010; Cruz, 2008), (4) for anime and manga as being open media which


allows for freedom of choice regarding the array of genres (Fanlore.org, Levesque, 2010) and

reinvented use for literary elements (Toku, n.d.; University of Michigan Japanese Animation

Group, 2001; Talem, n.d.; Kelts, 2006) and finally, (5) as being equated to art and literature,

anime and manga allow for the opportunity of personal interpretation.

Pop Culture Messages of Influence. Through the scholarly discussion and articles of the

University of Michigan Japanese Animation Group (2001), Garcia and Saplala (2007), Marson

(2009) and Surovec (2009), the truth of Japanese popular culture such as anime and manga as

being the carriers of various aspects of Japan usually that of its history and culture [and religious

facets] has been verified. These aspects of Japan presented or told in a manner that blurs realism

with fantasy are picked up by anime and manga enthusiasts (Garcia & Saplala, 2007). Also, the

rise (Norris, 2010) and proliferation of the otaku subculture has earned recognition as a global

phenomenon (Manzenreiter, 2002; Shinta, 2007; Brender, 2006) which emanates a sort of

thought that is in essence goes like this, it‟s not so bad to like the [pop] culture because everyone

already does; since that is the case, if you cannot stop the spread, might as well join it”.

Impacts of Japanese Pop Culture. So far as the interpretation and analysis of data

gathered from all the instruments utilized in this study, the effects of Japanese popular culture,

especially anime and manga, are only present in these human features: (1) lifestyle of the otakus

which should never part with the act of saving up money to support the fandom, (2) social

interactions [with non-otakus and fellow otakus] improved by the application of life lessons

generated by anime and manga (Garcia & Saplala, 2007; Dolores, 2006), (3) tendencies of the

otaku to learn more about Japan through its language among others aspects (Lanuza, 2003), and

(4) the appeal and preference for the Japanese pop culture fashion statement which is in many

respects equivalent to otaku-ism leading to a desire to cosplay.


Other Factors for Young Filipinos‟ Interest in Japanese Pop Culture. The recurrent

mention of the (1) manipulation pieces of factual or real historical and cultural events within

anime and manga (Japanese Animation Group, 2001; Garcia & Saplala, 2007; Marson, 2009;

Surovec, 2009), (2) the creative display of expression and the unique manner of how characters

are portrayed (Toku, n.d.; Bryce, Barber, Kelly, Kunwar, & Plumb, 2010; University of

Michigan Japanese Animation Group, 2001; Talem, n.d.), (3) the reader, viewer or otaku‗s

opportunity for empathy or putting oneself in the shoes of the character, (4) the life lessons one

can pick up from the proponents (Garcia & Saplala, 2007), and (5) the capacity for a wider range

of audiences to enjoy Japanese popular culture (Fanlore.org, Levesque, 2010, Bryce, Barber,

Kelly, Kunwar, & Plumb, 2010) are some of the additional magnetic appeal radiated by anime

and manga as means of capturing audiences.

The Types of Adopters. Determined bases to differentiate the degree of otaku-ism of the

focus group discussion participants are as follows: (1) length and frequency of exposure to

Japanese popular culture and its various proponents, (2) conviction displayed by the otaku for

being proudly part of the subculture, and (3) the self-rating of the otaku as to the assessment of

his or her degree of fanaticism toward anime and manga.


CHAPTER VI: SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

Summary

This study delved into the ways with which young Filipinos experience Japanese popular

culture such as anime and manga. In order to discover the truths behind their experiences, the

researchers chose and attended two cosplay conventions namely, Otaku Expo Reload [October

10, 2010] and University of the Philippines Anime and Manga Enthusiasts‘ Now Playing AME

Track 10: Rhapsody in the Rain [November 6, 2010] to conduct a survey. The survey was aimed

at gauging the degree of interest of otakus toward Japan, anime, manga and other Japanese pop

culture-related activities. From the data gathered in the survey, the researchers took out the

participants for batch I and II of the focus group discussion. The FGD was aimed at gaining more

in-depth knowledge behind the otakus‘ fandom toward Japanese pop culture proponents. To

attain a balance of interests between the young Filipinos and the professionals who are at the

forefront of otakus and Japanese popular culture in the Philippines, the researchers conducted an

interview with representatives from both cosplay events. The gathered data from these

discussions were analyzed, tabulated and interpreted to arrive at points essential in the formation

of a conclusion that sought to answer the researchers‘ main inquiry.

Below are the most valuable findings of this study:

The researchers‘ data reflected a positive imprint upon the young Filipinos‘ experience of

Japanese popular culture. Anime and manga has its unique appeal that earned it the attention of

numerous followers across the world. Japanese pop culture proponents such as anime and manga

are not simply for children because when one looks at the content of these art forms, they include

many cultural and societal aspects not viewed in other children‘s programs. The stories and plots

could be made for an older or for that matter, more mature target audience. One can also get a


glimpse of traditional and modern Japan through these channels. Not only that, fans think of

anime and manga as part of the vision that allows them to see what comprises Japan and the

exposure offers them a peek into the kind of life that thrives in the country. In a sense, there is a

fusion of reality and fiction in the Japanese popular culture proponent‘s message which has

generated interest from fans of all ages.

Powered by advanced technology, various forms of media contribute greatly to the

manner with which people are able to access anime and manga. Through internet, television and

print, these fans are updated and in the know about their favorite series or are kept posted with

recent happenings [as in new releases and appearances] from the anime or manga they are

currently watching or reading. The sheer power of media as source of influence is potent because

through anime and manga, it has piqued the interest of the youth and has gotten them curious and

interested about many aspects of Japan.

Young Filipinos consider anime and manga not only as a form of entertainment or a hub

for their hobbies, but as part of their lives in which they think as not affecting how they view

their nationality and their value for it. For these individuals, anime and manga has given them

positive experiences and these experiences have allowed them to grow and branch out. They

deem that anime and manga has opened for them new opportunities to make friends, learn new

things (i.e. learning the Japanese language) and engage in more activities (going to conventions

and participating in cosplay competitions). They also feel that being with other people who share

the same interests gives them a sense of belongingness and fulfillment.

While there are many fans of anime and manga, not all of them consider themselves as

otakus or ultimate fans of anime and manga. Despite this, they find Japanese pop culture as

something that they cannot easily let go of. They have a sort of attachment to it but are not


completely addicted to it. They point out that while being fans of anime and manga, they can

also maintain other interests and hobbies.

Conclusions

Young Filipinos experience Japanese popular culture by exposing themselves to anime

and manga using various media forms (internet, TV, CDs / DVDs, etc.), attending cosplay

conventions and gatherings of fellow otakus, involving themselves in Japanese pop culture-

related activities (writing online fan fiction or doujinshi, playing role playing games, etc.), and

reflecting on the messages and applying some situations depicted through anime and manga in

their personal and life encounters. These young Filipinos / otakus first gained their exposure to

the art forms [anime and manga] and have perceived them with a positive appeal. Having

characters from these proponents as their role models and idols and taking out life lessons they

learned from anime and manga has allowed them to grow and mature. They get ideas, values and

ways on how they can live life from anime.

Other conclusions include the realization that no present problem or danger with young

Filipinos growing more interested in anime and manga can result into their losing a sense of

identity or nationality. They believe that while they do like anime and manga and have a

profound attraction to Japan and other aspects of it, they have not lost their attachment to their

own country and its ideals. They want to learn the language, they like listening to Japanese music

and follow Japanese fashion trends but they do not want to become Japanese. They do not regard

their love for anime and manga (and the Japanese‗s traditional and modern culture in general) as

a threat to their sense of nationalism and patriotism. They still view themselves as Filipinos.


Recommendations

In light of these conclusions, the researchers suggest that other forms of popular culture

from other countries and the nature of popular culture itself should be studied to investigate if

they have the same effect as those found in this study. Further studies on the impacts and effects

of other popular culture trends and its main means of transport, globalization, to the Filipino

youth should also be done to determine if there is an even greater threat to nationalism and the

youth‘s sense of identity than Japanese popular culture. Popular culture coming from other

countries can also be compared to the different elements of Filipino popular culture to find out

exactly what it is in that particular popular culture that attracts the Filipino youth.

Moreover, the researchers would also suggest conducting more studies on how the

influences of other popular culture, its appeal, mode of transport, styles, etc., can be applied to

various Philippine endeavors such as the promotion of Filipino comics and the improvement of

their educational materials. This also suggests that the nature of Filipino popular culture should

also be studied thoroughly in order to identify the best way to improve the Philippines‘ and its

people‘s reputation. Likewise, studying Filipino preferences regarding their acceptance and

incorporation of foreign influences could also be conducted.

In addition, content analysis of some prevalent titles of anime and manga could be done

in future studies to see how much of its content and message can be reflective of Japan, what of

its elements can represent the essence of the nation and how much of it can affect its viewers. A

research focusing more on the content of anime and manga could give a deeper understanding of

how this works and how it affects its target audience.


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Appendices


Appendix D


Appendix E

The Otakus Who Walk Among Us (Abridged)

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