), a philosophical study of otaku ( Saito 2013 Saito, Tamaki. The anxieties that make the ‘otaku’: capital and the common sense of consumption in contemporary Japan. Intercultural Communication Studies 23 (2): 54-68.), an economic analysis of otaku culture ( Kam 2013 Kam, Thiam Huat. The cultural context and the interpretation of Japanese ‘Lolita complex’ style anime. Permitted and prohibited desires: mothers, comics, and censorship in Japan. ) a psychological or anthropological analysis of otaku ( Allison 2006 Allison, Anne. Cool, creepy, moé: otaku fictions, discourses, and policies. Los Angeles: University of California.), media theory ( Lamarre 2013 Lamarre, Thomas. In Women, media and consumption in Japan, edited by Lise Skov and Brian Moeran, 220-254. São Paulo: Universidade Federal de São Paulo, 1: 288-307.), the relationship between cuteness and gender ( Kinsella 1995 Kinsella, Sharron. Anais do Encontro Internacional de Pesquisadores em Arte Oriental. Journal of Japanese Studies 24 (2): 289-316. Japanese subculture in the 1990s: otaku and the amateur manga movement. The academic literature on these issues focuses on: analyzing cute culture ( Kinsella 1998 Kinsella, Sharron. Georgia Journal of International & Comparative Law 44: 195-236.).
Regulating lolicon: toward Japanese compliance with its international legal obligations to ban virtual child pornography. “Lolicon: the reality of ‘virtual child pornography’ in Japan”.
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Debates about the desirability and existence of these materials have been polarizing with individuals placing them as expressions of free speech and sexuality, while others call for their criminalization and prohibition 3 3 As Japanese pop culture can be centered on a notion of cuteness, these fictitious characters are often drawn in ways to look cute and young. This pornographic subgenre of pop culture can be heavily focused on sexual violence and fictitious depictions of children in animation, comics and video games. This world centered on fantasy and on cuteness has a wide variety of genres including pornography and violence. Beyond ‘kawaii’ pop culture: Japan's normative soft power as global trouble-shooter. Journal of Global Media Studies 1: 17-29. Tokyo pop culture as a transformative culture.
Since the 1980s, Japanese popular culture has continued to grow as a relevant global commodity and an increasing aspect of Japan's soft power ( Kawasaki 2007 Kawasaki, Kenichi. Non-East-Asian names follow the traditional Western standard of given name followed by the family name. Japanese names follow the Japanese standard naming starting with the family name followed by the given name. Game developer Electronic Arts claims that the reality of the game necessitated it.The views expressed herein are those of the author. Why: Taliban shooting US troops This first-person shooter video game is banned across US military bases because it lets a player pretend to be a Taliban fighter and shoot American troops in Afghanistan. After losing a legal battle for refusing to certify Manhunt 2, the British authorities issued an 18+ certifi cate for it. The game is either banned or has rating refusals in Germany, Ireland, Italy, Malaysia, New Zealand, Australia, South Korea and other nations. Why: Excessive gore While plenty of games have been banned for ‘high impact violence’, Manhunt 2 - sequel to the brutal PlayStation game Manhunt - is in a class of its own. One of the missions in the game featured rebel fighters attacking prominent Chinese institutions. Although this game presents China as a quasi-protagonist, it was banned because the Chinese felt it portrayed the country in a “negative light”. Why: Against the image of China and its military China is known for being harsh on computer games that don’t meet the country’s demands.
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