In this blog post, we’ll explore the cultural background and social perceptions behind why manga and anime otaku, in particular, are viewed so negatively.
The Meaning of “Otaku” in Korea
In South Korea, it takes a great deal of courage to admit that one’s hobby is watching manga or anime. This is because such a self-introduction is interpreted to mean that the person is an otaku obsessed with Japanese manga or anime. Although “otaku” was originally a Japanese term referring to someone deeply passionate about a specific field or hobby, it is used in a distorted sense in Korea. In particular, manga and anime otaku carry a far more negative image than those in other fields. We aim to explore how this image took root in Korea and why manga and anime otaku are perceived more negatively than those in other fields.
The Negative Connotations of “Otaku”
Most people have a specific image that comes to mind when they hear the word “otaku.” The typical image is that of an adult who is obsessed with fictional characters from comics or anime, often portrayed as overweight, wearing glasses, and covered in acne. However, the etymology and original meaning of “otaku” differ somewhat from this image. “Otaku” originally means “house” in Japanese and is a polite term used to refer to a home. If a “fan” refers to someone who is passionate about their hobbies and preferences, and a ‘mania’ refers to someone who is passionate while also able to articulate their own clear criteria, then an “otaku” goes a step further to refer to someone with an expert-level eye for the subject. This raises a question. While “otaku” is a term applicable to all fields, the question arises as to why it is currently used primarily to describe people whose hobby is manga and anime.
To understand this prejudice held by the general public, we first need to examine its origins. In Japan, where the term originated, when “otaku” was first introduced to the public, the media’s distortion led to an emphasis solely on its sensational and unconventional aspects. In 1989, a case involving the murder of four young girls occurred, and the arrested suspect, Tsutomu Miyazaki, was the stereotypical otaku that many people associate with the term today. Reporters on television revealed his room, and through this, the term “otaku” became widely known to the world. Tsutomu’s room was piled high with over 6,000 videotapes, and the floor was littered with manga magazines that clearly revealed his sexual preferences. Following this incident, the term “otaku” came to be associated with a potential perverted killer who would commit any crime to get what he wanted.
Furthermore, negative perceptions of otaku are not limited to Japan alone. Following the collapse of Japan’s economic bubble in the 1990s, society began to place an intense emphasis on efficiency and productivity, while conforming to social norms became increasingly prominent. Consequently, otaku culture came to be viewed as an “abnormal hobby” that deviated from these social norms. Japanese society began to perceive otaku as irresponsible individuals who do not contribute to society. This eventually led to the perception that adults obsessed with manga or anime were failing to fulfill their social roles, further solidifying the negative image of otaku.
In South Korea, otaku were introduced in a similar manner. Following the relaxation of broadcasting regulations in 2008, the number of cable channels surged, and broadcasters needed more sensational content to survive the fierce competition. From the perspective of cable channels seeking public attention, the existence of otaku—a group still unknown to the general public—was a highly attractive subject. Ultimately, they were first introduced to the public through an exaggerated and distorted broadcast by a cable channel. The show’s protagonist engaged in bizarre behavior that was difficult to comprehend not only for the general public but even for fellow otaku with similar hobbies—such as going on dates with a pillow featuring his favorite manga character or attempting to shoot a wedding photo shoot. Naturally, the program became a major sensation, and its impact was so powerful that the term “otaku” flooded the search rankings on major search engines. The show focused on how the protagonist’s hobby had become so excessive that he could no longer distinguish between reality and fiction, and the general public, encountering the image of an otaku for the first time through this program, naturally developed misconceptions.
Following the cable channel incident, manga and anime otaku came to be viewed as social misfits and objects of contempt. Although Tsutomu Miyazaki and the protagonist of the cable TV show were extremely rare and extreme cases even among otaku, the public perceived them as representative of the entire otaku community. Because these sensational incidents were imprinted on the public’s mind from the very beginning, the term “otaku” still carries negative connotations, and many people mistakenly believe it refers to anyone who likes Japanese manga or anime.
Age-appropriate hobbies and the obsession of Koreans
Of course, it is true that the meaning of “otaku” has gradually changed over time. Its usage has expanded into far more diverse fields than before, and it is now sometimes used in a friendly sense. However, while “otaku” is used as a positive expression conveying admiration and respect in other fields—such as “classical music otaku” or “baseball otaku”—it is still used negatively when referring to anime and manga. Why is it that while the word “otaku” itself is becoming more positive, the negative perception of manga and anime otaku persists?
Among the generation that has benefited from mass media, it would be very rare to find someone who grew up without watching comics or animation. Even today, many children enjoy animations like “Pororo,” and the primary 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 were simply due to human wariness of unfamiliar cultures, this generation would likely harbor relatively fewer prejudices against otaku. However, this is not the case. In fact, it is precisely the generation of people currently in their teens to thirties who first encountered the term “otaku,” used it most actively, and internalized the current prejudices. Therefore, the argument that negative perceptions of manga and anime otaku stem from the unfamiliarity of the field lacks persuasiveness.
Intuitively, it is difficult to accept the phenomenon where people view otaku in the manga and anime field—a hobby they themselves have had and once enjoyed—more negatively than otaku in other fields about which they have no experience or knowledge. However, this becomes understandable when considering the obsession with a predetermined life course that exists in Korean society. In Korean society, there are important milestones that must be achieved at specific ages in order to live a successful life. Koreans live their lives feeling that they “must do something” according to this predetermined course. They must attend English kindergartens, go to cram schools, and prepare thoroughly for college entrance exams to get into a good university. After graduation, they must land a good job, get married, and have children. Many people live with the compulsion that a successful life requires following these predetermined steps one by one. If Koreans fail to complete even one of these consecutive stages, they fall into the illusion that they have become a failure in life; conversely, when they see someone who has failed at even one stage, they may feel a sense of superiority and relief. The negative perception of manga otaku in Korea resembles the view of someone who has fallen behind after failing to complete the prescribed stages. This is because continuing to watch cartoons or anime—which are typically viewed by young children—as an adult is considered an age-inappropriate hobby.
