2026-06-10
Professor Toko Tanaka of the University of Tokyo Delivers Lecture on Otaku Culture and Feminism
Professor Toko Tanaka from the Interfaculty Initiative in Information Studies at the University of Tokyo was invited by the Department of Journalism at National Chengchi University (NCCU) to deliver a lecture titled “Otaku Culture and Feminism” on May 29. Comparing Tokyo’s Akihabara and Ikebukuro districts, Tanaka explained that Akihabara developed organically through networks of specialty stores built around shared interests. Known for its moe culture, two-dimensional desires, and maid cafés, it can be understood as a district representing male otaku culture. In contrast, Ikebukuro’s “Otome Road” has, since the 2000s, attracted numerous female-oriented businesses. Famous for Boys’ Love (BL) merchandise, male voice actors, and 2.5-dimensional musicals, the area has become a space where female desires are visibly expressed, reflecting the dramatic expansion of women’s purchasing power in Japanese society.
In 2024, Professor Tanaka published Otaku Culture and Feminism (Otaku Bunka to Feminizumu), which examines how “oshikatsu” (fan activities dedicated to supporting one’s favorite idols, characters, or creators) shapes gender relations, reconfigures urban space, and even influences political participation in contemporary Japan. The lecture was moderated by Professor Shu-mei Wang, Chair of NCCU’s Department of Journalism. Dean Hsiu-Hui Sun of the College of Communication, along with professors Nien-Hsuan Fang, Yu-fen Ko, Hui-wen Liu, and Ting-yu Kang, also attended and participated in the discussion. In addition to students enrolled in the Urban Media Studies course, more than twenty students from both NCCU and other institutions joined the event.
During her lecture, Professor Tanaka noted that although Japanese otaku culture has gained global recognition through anime, manga, VTubers, and idol culture, it has long been perceived as a predominantly male domain. Previous scholarship has likewise focused primarily on male otaku, often overlooking women’s active involvement in subcultural communities. In reality, women are not peripheral participants but important cultural producers and practitioners within otaku culture. Through her analysis, Tanaka revisited gender issues in otaku culture and encouraged the audience to reflect on the increasingly complex relationships among fan culture, digital media, and social participation, highlighting the significance of combining popular culture studies with feminist perspectives.
Addressing the relationship between otaku culture and urban space, Tanaka referenced Kaichiro Morikawa’s book The Birth of the “Fun City”: Akihabara as a Moe City. The book traces Akihabara’s transformation from an electronics district in the 1940s to an otaku mecca in the 1990s, and later into a business district through urban redevelopment projects. Numerous otaku-related works have also used Akihabara as their setting. However, beginning in the 2000s, Ikebukuro emerged as a center of female otaku culture. Events such as cosplay festivals attracted large numbers of female fans, while approximately 80 percent of customers at Animate Ikebukuro’s flagship store are women. At various themed collaboration cafés, the proportion of female customers reaches as high as 95 percent. The rise of women’s consumer power was so significant that commercial rents in Ikebukuro surpassed those of Shibuya in 2014.
From a Marxist perspective, critics argue that discourse surrounding oshikatsu can become complicit with neoliberal ideology. Driven by consumerism and digital platforms, contemporary fans voluntarily promote their favorite idols or characters by boosting online engagement, sharing content, and creating fan works. While these activities appear to stem from personal passion, they may in fact constitute forms of immaterial and unpaid emotional labor that are appropriated and exploited by capitalist markets and commercial systems. More fundamentally, the substantial time and emotional energy devoted to oshikatsu may reduce individuals’ capacity to engage with politics, social issues, and community life, thereby weakening broader civic participation.
Nevertheless, Professor Tanaka observed that contemporary oshikatsu has increasingly intersected with political mobilization. During recent large-scale anti-war demonstrations outside Japan’s National Diet, otaku communities demonstrated a remarkable capacity for organization and effective use of digital media to communicate and mobilize participants. Under certain social conditions, these mature fan networks can transcend entertainment and become platforms for public engagement. Tanaka also noted that women are often more actively involved in civic activities than men, suggesting that otaku culture should not necessarily be viewed as a form of social withdrawal. Instead, it can serve as a catalyst for greater public participation and collective action.