Author: Xie Fenghua / Anitama Cover Source: "The Super PowerEd Daughter of the Underworld"
These days, Japan's radical left-wing group C.R.A.C. tweets that "discrimination against otaku" is a pseudo-concept. Literary critic Naoya Fujita, manga artist Shigeru Tagawa, and others who have written works such as "The New Godzilla" have also come forward to support C.R.A.C's views. As you can imagine, this statement has aroused strong controversy and has been attacked by the otaku community.
C.R.A.C. These remarks are actually part of the verbal exchange between two opposing groups. The background is complex and there is no value in digging deeper.
After arguing with Fujita for several days, the script writer Norimitsu Haifa came to the conclusion that what Fujita actually wanted to oppose was that many otaku claimed to be discriminated against because of their interests and improved the unfair treatment they suffered; at the same time, they labeled other activists representing vulnerable groups as "politically correct sticks" and "eye villages" (a derogatory term for feminists, meaning that feminists will say that your eyes are sexual harassment and criticize you if they think you look at her uncomfortable. It can be understood as the "feminist cancer" in the Chinese), which relativizes and nihilizes discrimination such as sexism. The people Fujita criticizes are actually what many left-wing otaku opinion leaders, such as Haifa, have always opposed.
（https://twitter.com/nk12/status/989055683080355847）
The argument itself, while not very interesting, has led to some interesting discussions. One of them is the discriminatory discrimination against vulnerable groups that is indeed more prevalent among otaku. Whether on anonymous discussion boards or on Twitter, it is common to see male otaku using sexual organs as a proxy for women very naturally, and also to discriminate against other minorities.
Even within the otaku, there is a deep-seated incomprehension and disregard between male otaku and female otaku. Many people take it for granted that anime and manga please male audiences, and once a work appears to please women, it will be viciously said by them. In the eyes of these people, cartoons are for men, and men are the mainstay of the market. Women have only begun to follow suit in recent years.
For this misconception, many senior otaku who experienced the 1960s and 1970s have denied it with their own experience. Calci, a physician who has been attending comic market since its earliest days, used a photo from the 5th Comiket in 1977 to prove the real situation at that time:
（https://twitter.com/Calcijp/status/989044361206870027）
Calci says that the early Comiket attendees, the female-to-male ratio was about 9:1 or 8:2, and this image amply proves this number.
When recalling the past, the old otaku of the 60s and 70s also mentioned that when they were young, the otaku were not discriminated against.
Kenta Hirano once mentioned in the manga "Forward ~ Below" that his previous post-50s and post-60s were in the era when there was no word "otaku", and he braved the world's incomprehension and surged forward, creating a thriving anime culture and Comiket and Wonder Fes. After his post-80s and post-90s, he lived in a world where these things were taken for granted, and he could enjoy life as an otaku without any worries and be accepted. However, only after their 70s, because of the Miyazaki Incident in their adolescence, they were treated coldly by the world and were regarded as a reserve army for criminals.
Born in 1960, art supervisor Hiroshi Sasaki looks back on his teenage years and restores a world of otaku that can be described in terms of lights and wine.
Sasaki became an otaku in the 1970s, but has no recollection of the discrimination he suffered because of this hobby. Although he joined the anime club at one of the best high schools in Tokyo at that time, he never suffered any persecution.
In 1978, When Sasaki entered the animation industry, he was surprised that whether it was a painting supervisor, an art supervisor or a performer, everyone had money in their pockets and dressed up in a very foreign way.
Morimoto (Koji?) The lady is notoriously beautiful, but Sasaki feels that it is not surprising that an animator of his rank can find a beautiful wife. He also saw and heard about Maeda Maehiro and Onda (Shoyuki?). There are countless women who hunt for them, so I have never had the idea of hiding that I am an otaku. So much so that he wondered: When did this divergence in world perception arise?
About the 80s before the animation industry, many people were "manual laborer thinking", as soon as someone came to find the stubble, they hit it back on the spot. Imatoshi, who was beaten by someone but was able to cry and beat him with one mouth, was very novel at the time.
Sasaki's own master can surround himself no matter which tavern he goes to, making him admire him. Even Kokura (Hirohiko?) who never trims the edges. All were welcome. Compared to today, Sasaki can only feel that the world line has gone wrong.
Sasaki said that if you look at Miyazaki, you can know that his previous generation of animation practitioners were often the so-called "children of good families." What a daughter of the director of a major home appliance factory, the son of a Japanese painting master. Like TAKEshi Sawamura, the second president of GAINAX, he is the grandson of a literary giant who revived Noh.
（https://twitter.com/Marudashi7）
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Original: m.anitama.cn/article/a1ac0e36fbb6bc57?utm_source=toutiao