This blog post examines the cultural background and social perceptions behind why manga and anime otaku are singled out for particularly negative scrutiny.
The Meaning of Otaku in Korea
In South Korea, it takes considerable courage to say your hobby is watching manga or anime. This self-introduction is interpreted as meaning the person is an otaku deeply immersed in Japanese manga or anime. While “otaku” originally referred to someone deeply passionate about a specific field or hobby in Japanese, its meaning has become distorted in Korea. Otaku focused on comics and animation, in particular, carry a far more negative image than those in other fields. This post explores how this image took root in Korea and why comic and anime otaku are perceived more negatively compared to those in other fields.
The Negative Connotation of Otaku
Most people have a specific image in mind when they hear “otaku.” The typical otaku image is someone who, despite being an adult, is obsessed with fictional characters from comics or animation, often portrayed as overweight, wearing glasses, and covered in acne. However, the etymology and original meaning of “otaku” differ somewhat from this image. Originally, “otaku” is a Japanese word meaning “house,” used as a polite term referring to one’s home. If a fan refers to someone passionate about their hobbies and interests, and a maniac is someone who is passionate and can articulate their own clear criteria, then an otaku goes further, signifying someone with expert-level discernment. Here, we can raise a question. The term ‘otaku’ applies to all fields, yet it is primarily used today to describe people whose hobby is manga and anime.
To understand this public prejudice, we must first examine its origins. In Japan, where the term originated, when ‘otaku’ was first introduced to the public, media distortion emphasized only its sensational and abnormal aspects. In 1989, a case occurred where four girls were murdered. The arrested perpetrator, Tsutomu Miyazaki, was the stereotypical otaku that many people now associate with the term. Journalists on broadcasts revealed his room, which brought otaku to the world’s attention. Tsutomu’s room contained a staggering 6,000 video tapes stacked up, and manga magazines clearly revealing Tsutomu Miyazaki’s sexual preferences were scattered chaotically across the floor. After this incident, otaku became synonymous with a potential perverted murderer who would commit any crime to get what they wanted.
Moreover, negative perceptions of otaku weren’t confined to Japan alone. Following the collapse of Japan’s economic bubble in the 1990s, society increasingly emphasized efficiency, productivity, and conformity to social norms. Consequently, otaku culture came to be viewed as an ‘abnormal hobby’ deviating from these societal standards. Japanese society began perceiving otaku as irresponsible individuals who contribute nothing to society. This perception ultimately led to the view that adults obsessed with manga or anime were failing to fulfill their social roles, further cementing the negative image of otaku.
Korea introduced otaku in a similar manner. Following the 2008 relaxation of broadcasting regulations, the number of cable channels surged. To survive fierce competition, broadcasters needed more sensational content. For cable channels seeking public attention, the relatively unknown concept of “otaku” proved an extremely attractive subject. Ultimately, they were first introduced to the public through the exaggerated and distorted broadcasts of one cable channel. The show’s protagonist engaged in bizarre behavior that was hard to understand not only for ordinary people but even for fellow otaku with similar hobbies. This included enjoying dates with a pillow featuring his favorite manga character and attempting a wedding photo shoot. Naturally, the broadcast became a major issue, and its impact was immense, flooding the top search rankings on major search engines with the term “otaku.” The broadcast focused on the protagonist’s excessive hobby, blurring the line between reality and fiction. Naturally, the general public, encountering otaku for the first time through such programming, was led to misunderstand them.
Following the cable channel incident, manga and anime otaku were viewed as social misfits and objects of contempt. Despite Tsutomu Miyazaki and the cable broadcast protagonist being extremely rare and extreme cases among otaku, the public perceived them as representative of the entire otaku group. Because these sensational incidents were imprinted on the public from the start, the term “otaku” still carries negative connotations, and many people mistakenly believe it refers only to those who like Japanese manga or anime.
Age-appropriate hobbies, Koreans’ obsession
Of course, over time, the meaning of otaku has gradually shifted. Its application has expanded into far more diverse fields than before, and it is now sometimes used with a friendly connotation. However, while “otaku” is used positively with admiration and respect in other fields like “classical music otaku” or “baseball otaku,” it remains negatively associated with anime and manga. Why does the negative perception persist for manga and anime otaku, even as the word “otaku” itself becomes more positive?
Among the generation that benefited from mass media, it’s rare to find someone who didn’t watch cartoons and anime as a child. Even today, many children enjoy animations like ‘Pororo,’ and the main customer base for webtoons, which form the backbone of the Korean comic market, is the youth demographic. If the public’s aversion to manga and anime otaku stemmed solely from human wariness toward unfamiliar cultures, this generation would likely hold relatively fewer prejudices against otaku. However, this is not the case. In fact, it is precisely the generation spanning their teens to thirties who first encountered the term “otaku,” used it most actively, and now internalize the current prejudices. Therefore, the argument that negative perceptions of manga or anime otaku stem solely from unfamiliarity with the field lacks persuasive power.
Intuitively, it’s difficult to accept that they view otaku in the manga and anime field—a hobby they themselves once had and enjoyed—more negatively than otaku in other fields where they have no experience or knowledge. However, it becomes understandable when considering the obsession with a predetermined life course prevalent in Korean society. Korean society dictates crucial milestones that must be achieved at specific ages to lead a successful life. Koreans live lives constantly driven by the compulsion to ‘do something’ according to this set course. They must attend English kindergartens, go to cram schools, and prepare well for the college entrance exam to get into a good university. After graduation, they must secure a good job, get married, have children, and so on. Many live with the compulsion that success requires following each step of this predetermined sequence. If they fail to complete even one stage in this continuous process, they fall into the illusion that they’ve become life’s dropouts. They may even feel a sense of superiority and relief when they see someone else fail at any stage. The negative view of manga otaku in Korea resembles the perception of someone who has fallen behind by failing to complete a predetermined stage. This is because watching cartoons or animations meant for children as an adult is seen as an age-inappropriate hobby.
