The information available on Japanese animation before 1950, at least in English, is limited at best and conflicting at worst. The actual animated films themselves as well as records of who created what and when has mostly been destroyed. This is due to 1923’s Great Kanto Earthquake and later the American invasion of the islands. Aside from that, animation was treated as disposable entertainment, as was most animation in the rest of the world at that time. Thus, little has survived.

Thankfully, most of the animated work that remains has been preserved digitally and is available online! It should be mentioned that most of the silent animation presented in this article is “incomplete” in that it lacks benshi narration. When film began to spread throughout Japan, rather than accepting it as an evolution of photography as the west did, it was viewed as an extension of theater. Since kabuki, noh, and bunraku theater traditions all had narrators, naturally film needed one as well. Enter the benshi, a narrator who not only read the aloud the onscreen intertitles, but also described the film’s events in real time and gave voice to each and every character. Two of the films embedded in this article benefit from recorded benshi narration. The rest are “incomplete”.

While I will be sprinkling bits of information I’ve uncovered regarding the roots of anime, make sure to give special attention to the cartoons themselves. What awaits you is a moving history of initially simplistic paper cut-outs giving way to experimental art, funny animal cartoons, sing along-songs, chalk animation, traditional folktales, and full-length feature films. And this is all before Tezuka. Welcome to an often overlooked world. Enjoy yourself.

The Three Fathers (1907-1923)

Film first hit Japan in 1896 and had flourished into burgeoning culture by the 1910s, complete with film criticism. Along with the initial wave of films from the west came Western animation. It was only a matter of time before Japan, with its rich visual culture, began experimenting with its own animated creations.

The earliest example (speculated to be the oldest surviving anime) is Katsudo Shashin (Moving Picture, 1907?-1918?).

The boy is writing the kanji for katsudo shashin which translates to “moving picture” in English. It seems that in these early years, both Japan and the west were amused enough with the novelty of an image in motion.

In the early 1900s, animators experimented with inexpensive ways to bring their visions to life. Katsudo Shashin and many others were drawn directly onto the strips of film from which they were projected, making these animations one of a kind. This and other early animation techniques were pioneered by Oten Shimokawa, a political cartoonist for Tokyo Puck magazine. His first animated work, Imokawa Mukuzo Genkanban no Maki (The Story of the Concierge Mukuzo Imokawa, 1917) was long believed to be the first animated short made in Japan, though it is likely still the first short ever screened for a wide audience.

After creating only five shorts, chronic health problems forced Shimokawa into early retirement. His contribution, however, gives him the honor as one of the three fathers of early anime.

The second of the three fathers is Junichi Kouichi, who holds the honor of the oldest confirmed anime in existence (Katsudo Shashin could have been made as early as 1907, but there is no real proof as to its age). Namakura Gatana (Dull Sword, 1917) is a two minute short about a samurai attempting to test his newly purchased katana on innocent townspeople and failing miserably.

This film was thought to be lost until a copy was found in an Osaka antique shop in 2008. Kouichi animated this short using paper cut-outs laid out on a table which he moved and changed to create the characters’ movements. This was a technique that would later be taken to a level of artistic excellence by the Japanese animation directors of the 1930s.

Junichi Kouichi began creating political propaganda in 1924 and retired from animation in 1930.

The third father of this generation had arguably the most impact on the generation that followed him, mostly because he had the largest body of work and many animators of the 1930s were his students. Seitarou Kitayama created shorts focusing on Japanese folktales like Sarukani Gassen (Monkey-Crab Battle), Urashima Taro, and Momotarou. Aside from creating anime’s first commercials and documentary, Kitayama stood apart from his contemporaries as the only animator to found his own studio.

Kitayama Eiga Seisakujo opened in 1921 and gave jobs to a slew of talented individuals including Sanae Yamamoto. Sadly after only two years, most of Kitayama’s studio was destroyed in the Great Kanto Earthquake of 1923. He left Tokyo for a fresh start in Osaka the next year, but eventually abandoned animation completely for a career shooting newsreels.

Experimental Artists (1923-1939)

With the destruction of Kitayama’s studio, his team of animators struck out on their own to seek prosperity in personal ventures. But success did not come easily. Throughout the 20s, animation directors faced stiff foreign competition from larger, richer, and more impressive studios overseas. The imported cartoons had already made money in their home countries, so they were sold cheaply to theaters in Japan. Animation artists could not implement the expensive techniques used by Disney and still sell their cartoons at a competitive price. This made the paper cut-out methods introduced by Junichi Kouichi an absolute must. This limitation, however, led to some extremely innovative cut-out films by two men, Yasuji Murata and Noburo Ofuji.

Yasuji Murata began working at the Yokohama Cinema Shokai in 1923 creating the Japanese intertitle cards for imported western films. After seeing various western cartoons, he was inspired to create his own in 1927. He worked almost exclusively for the Yokohama Cinema Shokai throughout his career. His first work to get attention was Doubutsu Orimupikku Taikai (Animal Olympics, 1928) a cartoon about funny animals playing sports. However, one of the best examples of his range and artistic skill is Kobu Tori (The Stolen Lump, 1929).

Kobu Tori

Consider that Disney made Skeleton Dance this same year, and, though technically impressive, it is horrendously boring compared to Kobu Tori. In Kobu Tori, the contrast is moody, the characters are vibrant, the attention to detail more than makes up for the slightly limited movements, and most importantly it’s a story well told! Kobu Tori is a perfect example of what wonders Japanese animators could produce despite their lack of funding and resources.

Because foreign cartoons dominated movie theaters of the time, Japanese animation had difficulty finding a venue in which to be screened. A lot of anime from this period was screened in public shopping areas to generate interest. The Ministry of Education also encouraged Japanese animators to produce films that were educational or socially uplifting, thus allowing them to be screened in schools. This was the case with Yasuji Murata’s Taro-san no Kisha (Taro’s Train, 1929).

Taro’s Train

Taro-san no Kisha (Taro’s Train) is an interesting mix of live action and animation as well as a neat peek into the fashion and homes in 1920s Japan. Also, it teaches kids to not act like insane animals in public, which is a good lesson for children all over the world.

Murata’s film, Oira No Yakyu (Our Baseball, 1930) is a return to the sports setting he first utilized in Animal Olympics. This cartoon mixes the Western funny animal cartoon with Japanese elements, in this case the folktale Kachi Kachi Yama, a story of a fight between a tanuki and a rabbit. This particular YouTube video is a restoration of Oira no Yakyu by Digital Meme which includes benshi narration.

Oira no Yakyu

Oira no Sukii (Our Skiing Trip, 1930) is either a sequel or prequel to Oira no Yakyu, as they were both produced in 1930 and we don’t have exact dates for either. This film has a distinct advantage over its counterpart due to extensive magical transformations utilized by the tanuki and rabbits. Or at least, that’s what I think. This video also benefits from benshi narration.

Oira no Sukii

Murata was a master of cut-out animation with strengths in skill, quality, and consistency. Murata’s opposite was cut-out master, Noburo Ofuji, whose strengths were in innovation and the willingness to take creative risks.

Ofuji became the apprentice of Junichi Kouichi at age 18 and made his first film at age 24. His films are characterized by the use of chiyogami paper. Though this gives his films a distinct Japanese look, the choice to use chiyogami was more practical than artistic. Chiyogami was cheaper by far than drawing on expensive celluloid and made inexpensive paper cut-out animation even more affordable. Even after gaining success and resources, Ofuji continued to use chiyogami as his medium of choice.

Ofuji’s achievements went beyond his aesthetic superiority. He was also an innovator. Though films with synchronous soundtracks had been introduced in the United States and Europe in 1927, they had not yet reached Japan by 1929. This was largely due to opposition from benshi narrators who wanted to hold onto their star status. Though he lacked the resources to create a true “talkie”, Ofuji created the first “record talkie”, in which he put to film an animation that synced up perfectly with an existing jazz record. The venue simply had start the film and the record at the same time and the audience would see Japan’s first sound cartoon, Kuro Nyago (Black Cat, 1929).

Kuro Nyago

One of Ofuji’s most famous shorts is a prime example of the fun-loving spirit his chiyogami animations could create. Mura Matsuri (Village Festival, 1930) is a real treat. It takes the “follow the bouncing ball” sing-along motif and spins it in new directions. This idea was relatively new at the time, having only been introduced five years earlier by Fleischer studios. Ofuji makes his bouncing ball interact with the scenery, transform words into objects, and transform itself into character heads. The song in this film is one I gladly get stuck in my head on a regular basis.

Mura Matsuri

The following year, Ofuji released another sing-along, this time tinted pink and intended to teach children the importance of national symbols, namely sakura. It’s interesting to note that though Haru no Uta (Song of Spring, 1931) is very nationally-focused, the music is undeniably Western. The singer, Kikuko Inoue, was a singer from the Asakusa Opera, which was one of the major channels through which western music was introduced to Japan.

Song of Spring

Noburo Ofuji begins to stray a bit from happy sing-alongs and into more serious territory with Kokka Kimigayo (The National Anthem: Kimigayo, 1931). Made to play along with a record of the national anthem, this film begins to more closely mimic silhouette animation of German animator Lotte Reiniger. The silhouettes in Kokka Kimigayo are cut with amazing detail and the backgrounds are beautifully complex.

Kokka Kimigayo

HOORAY! Now we get into Ofuji’s cartoony stuff! Tengu Taiji (Tengu Extermination, 1934) is a great example of Noburo Ofuji’s foray into cel animation. It’s fascinating to see such familiar cartoon imagery repurposed for Japanese storytelling. This one is similar to a lot of 1930s cartoons, but has samurai, geisha, a cute doggy, and TENGU! I could say more, but you’re better off just watching it.

Tengu Extermination

Our final look at the work of Noburo Ofuji is the film that cemented him as a master of animation in the art world. Kujira (Whale, 1952) is a remake of his 1927 silent black-and-white film, Kujira (Whale, 1927). The 1952 version features cut-outs of colored cellophane arranged on a backlit multi-plane animation table. This allowed him to create intricate backgrounds and transitions. The story explores themes of greed, female suffering, forces of nature, and transformation. It’s a truly beautiful experience.

NOTE: The only upload of this film to the web at the time of writing is by a composer named Ufjar who has replaced the original soundtrack with his own score.

Kujira

Kujira was shown at Cannes in 1953 and gained significant praise from jury president Jean Cocteau and a certain member of the audience named Pablo Picasso. This began Ofuji’s wide acceptance in the international art world.

After Noburo Ofuji passed away in 1961, the Mainichi Film Awards named their prize for animation excellence the “Ofuji Noburo Award” in 1962. The first winner of the Ofuji Noburo Award was none other than Osamu Tezuka.

More From The Thirties!

The 30s produced a wide array of Japanese animation ranging from impressive works of art to weird crumminess. This section presents samples from all parts of that spectrum. In 1931, the first war cartoon Sora no Momotarou (Aerial Momotarou, 1931) was released, marking the beginning of a steady increase in war propaganda until it was serious propaganda time in 1939.

Chameko no Ichinichi (A Day in the Life of Chameko, 1931) was a record-talkie intended to play simultaneously with a phonograph of the same name. Chameko no Ichinichi was a popular song a year before it was animated. The animation is stiffer than Murata’s and much less charming than Ofuji’s, but it does feature the earliest example of product placement in anime. Watch for Chameko’s endorsement of Lion Toothpaste in the tooth brushing scene.

Chameko no Ichinichi

Kori no Tatehiki (Raccoon and Fox Trick Each Other, 1933) is another fun little romp. Certainly one of the best looking Japanese cartoons of the time, it borrows heavily from the style of Fleischer cartoons. It’s a tad more polished than Tengu Taiji and offers some fun gags as the tanuki and fox one-up each other with magic tricks and transformation.

Kori no Tatehiki

Yasuji Murata offers up another folktale in the same style as Kobu Tori with his film, Umi no Mizu wa Naze Karai (Why is Sea Water Salty?, 1935). Though this film hasn’t been preserved as well as Kobu Tori, you can clearly see how much more skillful Murata became in just a few years. The animation is incredibly refined and it’s nearly impossible to tell that it’s made using paper cut-outs. The entire film shines as a story clearly told by someone who has mastered the elements of visual storytelling.

Umi no Mizu wa Naze Karai

One of the first manga characters to gain widespread popularity was Norakuro. Created by Suihou Tagawa in 1931, the manga focused on a stray dog who joined the dog army, clearly an allusion to the Imperial Japanese Army. He began his army career as a bumbling private and eventually rose through the ranks to become a less-interesting sergeant. The manga, and the cartoons it spawned, did not start out as propaganda, but as the the war began and escalated, Norakuro became an obvious choice for propaganda-tainment. This particular anime adaptation, Norakuro Nitohei (Norakuro, Private Second Class, 1935) was directed by Mitsuyo Seo.

Norakuro Nitohei

Hecks yeah! Ninjustu Hinotama Kozo: Edo no Maki (Ninja Fireball Boy: An Episode in Edo, 1935) is a one minute adventure of ninja silliness. One source claims that it is a longer cartoon truncated for personal viewing, but we’ll never know for sure because this is the only copy in existence. Everything happens so fast, it’s hard to tell what’s taking place. It definitely involves a lot of ninja magic. Please leave your idea of what the heck is going on in the comments below.

Ninjutsu Hinotama Kozo: Edo no Maki

Obake no Taiji (Monster Hunt, 1936) is another dose of serious fun. It’s a tad crummier than Kori no Tatehiki, but what it lacks in technical presentation it makes up for in creativity. It’s rather reminiscent of Fleischer Studios’ 1930 Bimbo cartoon Swing You Sinners! in that it shows a lot of imagination in its setups, character transformations, and villains.

Obake no Taiji

Forgotten Artists

Toward the end of the 1930s, most cartoons began to lean in the direction of war propaganda. That, in itself, is an interesting study, especially since the quality of Japanese animation began to approach that of Disney. Furthermore, most all the anime from this period was directed by one man, Mitsuyo Seo. He directed the first feature-length anime, Momotarou Umi no Shimpei (Momotarou: Divine Sea Warriors, 1945), which was financed by the Japanese Navy.

In 1948, the Toei Animation studio was founded and began situating itself to become the Disney of the east. It produced a good number of interesting shorts and features which had a predominant Disney aesthetic. The 1950s were an interesting decade for Japanese animation because several creative forces were taking anime in different directions, and it’s fun to imagine what anime would look like today if something other than Tezuka had succeeded in capturing Japan’s collective consciousness. However, destiny chose Osamu Tezuka as the god of manga (and by extension, anime) and no one can say he doesn’t deserve that title. Anime’s characteristic big eyes came from Tezuka’s fascination with Disney’s Bambi, and its signature character movements came from Tezuka’s plan to temporarily limit animation to cut costs, a plan that eventually became permanent and was adopted by the entire industry.

There is a good reason that most retellings of anime’s history begin with Tezuka. What we know today as “anime” started with him. However, a history of Japanese animation is not complete without Kouichi, Kitayama, Murata, Ofuji, and many others. These artists are seldom remembered though they worked exceptionally hard to compete with well-funded foreign animation. All of them succeeded in creating Japanese art in an imported foreign medium, and a few of them succeeded in turning their practical limitations into artistic assets. These artists are mostly forgotten because the influence they have on our present is much less than the ongoing influence of Osamu Tezuka. But when you watch these early anime, try to imagine the affect it had on the people in the time it was made and how important it was for them to see samurai and tengu in the same medium as Mickey Mouse. Most entertainment and art we consume today will not be remembered in a hundred years, because people in that future time won’t understand our context. But that doesn’t make our art any less important. Nothing can devalue it for us. And nothing can change how important any piece of art was for people who saw it in days gone by.

Bonus Wallpapers!

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Sources:

• The Anime Encyclopedia by Jonathan Clements & Helen McCarthy
• Manga! Manga! The World of Japanese Comics by Frederik L. Schodt
• A Hundred Years of Japanese Film by Donald Richie
• Nishikata Film Review by Cathy Munroe Hotes
• AnimeVice.com Encyclopedia
• Antti Alanen: Film Diary
• Pioneer of Japanese Animation at PIFan by Jasper Sharp [Part 1] and [Part 2]
• Japanese Animation Filmography Project by Cathy Munroe Hotes

That’s right, FOR THE NEXT 12 WEEKS WE’LL BE WRITING AND ILLUSTRATING A NEW MANGA SERIES FOR SHONEN JUMP, and it will be all about the back story of our beloved character: Kumaman.

Although it’s only a 12 week contract we’re hoping it will turn into a longer term thing, though I guess that just depends on numbers. Ever since I was a kid it was my dream to write my own manga. It’s pretty much all I thought about. With Aya as the illustrator, and with SHONEN JUMP’s publishing power, that dream is finally going to become a reality, so we’ll be focusing most of our time on the manga side of the business, because, frankly, we were given a lot of money to do this.

The manga will be in all Japanese, but I know how you internet pirates work! Guess what? We’ve scanned and translated our own manga into English, and will be making it available to everyone for download (see bottom of the post). So don’t even bother, MangaStream! We just beat you at your own game.

Download “Kumaman: The Bear Bang Theory” Early

The first chapter, “Kumaman: The Bear Bang Theory” is a history of Kumaman and how he got to where he is in the present timeline of the manga. I won’t spoil it for you, but let’s just say Kumaman has had a rough life! Even though the chapter isn’t out in Japan until May 2014, we’re releasing the first chapter early, because we can, and because we love you. The contracts are signed and nothing says we can’t do this (I think! That contract was super long and in these weird Chinese characters), so hopefully it doesn’t get us in trouble. Plus, we’ve already cashed the check. I’m writing this post from Vegas, after all! Hit! Hit! Hit!

If you’d like to download it and read it in it’s full glory, it’s all yours. Note: you will need some kind of PDF viewer like Preview (OSX), Adobe Reader, or even most modern web browsers. Also note that since this is a manga made for Japanese customers first, the panels should be read from right to left. It will be very confusing otherwise. We did translate everything to English though, so at least that part won’t be confusing.

Okay! Get to downloading! Chapter 1 is here! I can “bearly” wait! ha ha.

I’m super excited for this Tofugu business pivot and I hope you are too. Let’s all forget about Japanese language education and all think about manga and the hot tubs full of money that come with manga publishing. Thank you, and please enjoy!

P.S. This was an April Fools joke (sorry!), but maybe someday it will become real. You never know. Thanks everyone for enjoying the comic!

While my “you can’t learn Japanese from anime” words were meant for those people, there is a way to watch anime where you do actually learn something. In fact, you can learn quite a bit if you try really hard. That’s what language learning is, isn’t it? Whoever tries the hardest is the winner, and the method (while important) doesn’t dictate whether or not you make it to the end. So, in order to help those of you who are learning Japanese and just happen to have an anime addiction, this article is for you.

Step 1: Ditching (Then Unditching) The Subtitles

First thing is first. You gotta get rid of the subtitles. If there’s English (or any language you’re proficient in) anywhere on the video screen then you’re doing yourself a disservice. The human brain takes the easy way out 99.9% of the time. If the option is there and it doesn’t hurt all that much it will take that option. If the subtitles are there it will process the subtitles – the Japanese audio in the background will not be processed.

A lot of anime, whether it’s on Netflix, Hulu, Crunchyroll, or *ahem* some other source, will have the option to remove the subtitles. With the first few sources, that ability is in the video options. With the “other” source, that option is usually under “video” in VLC (if that’s what you’re using to play these video files). If the option isn’t there, then you’re not going to be able to study using that video so I’d suggest trying something else.

After that, it’s time to get some subtitles.

“What?” asks the person living inside this article. “But I thought you told me to get rid of them!”

Well, good citizen, this time we’re adding in Japanese subtitles. Sometimes you’ll be able to turn on Japanese subtitles. Other times you’ll have to download them. There are various sites out there (Google it), but this is one of them. One way to go about it is to look through this list and find things you either like or are interested in. That will help you out in the future, because studying with anime actually takes most of the joy out of anime (warning you now). It is hard work, after all.

You’ll want to download the subtitles and add them to your video. Usually this just involves putting the subtitle file in the same folder as the video it belongs to. Other times you can load the subtitle file via the media player you use. If you’re not familiar, you may have to do some searching around to get it working. It will also depend on the subtitle file type too.

Step 2: Laying The Groundwork

This is where things get… study-y. Certain subtitle types will have trouble with this. Others will work a-ok. Using a text editor (or often cases an application you’d use to program with, like Sublime Text) open up the subtitle file. You may need to change the encoding of the file to Japanese as well. Just something else to look out for.

If you’re on the intermediate-to-advanced side of your Japanese learning journey, you can stop right here. If you’re on the more-like-a-beginner side, keep reading this section.

For you, this is going to be really hard. It’s not going to help you to just look at things and read them, as it will probably take forever and you could be using your time much more effectively somewhere else (like by learning kanji, or really most anything). If you’re at a more intermediate level, but perhaps a lower one, it might be helpful to download the English subtitles of the same anime and episode as well. You can open them like the Japanese ones and then use the timestamps to compare the Japanese with the English meaning. Don’t use this as a crutch, but use it to make sure you’re not completely off with any translations (and to help you when you get stuck). In addition to intermediate level learners, this can be helpful for advanced learners as well. Just use this crutch less and less the less you need it. Remember, our brains just take the easy way out whenever they are able so don’t trust it!

Step 3: Break Out The Vocab

Go through each word and make sure you know the meaning of it. If you’re having trouble figuring out what word something is, plop it into the search field in beta Jisho (or regular Jisho if you’re reading this in the future), which will take words in sentences then break them down into usable, more easily definable pieces. I’d recommend writing down all the words you don’t know or putting them in a spreadsheet. This isn’t so much for study but for keeping track of what you’re learning. The more you treat learning like a science with data the faster you’ll be learning in the long run. Plus, it’s nice to come back and see what you know and don’t know later on when you’ve been doing this a while. It will also make it easier to make sure you’re not doubling up words.

After you have them in a spreadsheet, put them into your SRS of choice. Some of these applications will let you import via a spreadsheet (how convenient!). You’ll want to use your own vocab studying method here, as there are many (and people like doing their own thing). The most important thing is you learn all these items before moving on to the “watch the episode” step.

Continue pulling out vocab and learning them until you’ve finished a “scene” in the anime. This is going to depend on the anime. This might take a long time for you or it might be fairly quick. Just know that the more you do this the faster it will go. Each time will be better than the last but the first 10-20 times is really, really painful.

When you know all the words in a scene, it’s time to take a look at the scene itself.

Step 4: Can You Read It?

Make sure you can read everything on the Japanese subtitles. Read it out loud, because this is a lot more telling than reading it in your head. You don’t have to be able to read it at the speed of the anime (yet), but you do need to be able to read it at a moderate speed. Once you are able to read it it’s time to fire up the video file.

Step 5: Shadowing

Now we’re going to do something called “language shadowing.” This involves reading the text along with the speaker, in this case the anime character, narrator, or whatever. This is a lot like singing along with a song. You learn the tones and intonation of a song when you do this, until you can sing the song somewhat in tune (your friends will disagree). Shadowing and reading along with someone speaking is a lot like this and will help you develop pronunciation abilities. That being said, be careful to not mimic people who don’t sound like people… In anime this is much more prevalent, so if you don’t know what you’re doing you could be training yourself to sound like a weirdo.

Various video players will have various options, but VLC has a “jump back X seconds” shortcut. Look it up for your operating system and use that to jump back over and over to the same sentence or two until you’ve perfected it and can speak up to speed. Once you’re able, move on to the next one until you’ve finished the whole section. Now go back to the beginning of the section for one big hurrah of a speak through. Do you feel like you’ve learned something?

Improving Over Time

The good things about this method of study are that it teaches you a lot of vocab over a long period of time, it helps with pronunciation, and is hopefully fun for you. The bad things? It’s hard. Damn hard. Especially if you’re not an advanced learner. That being said, I’d recommend this for advanced learners and maybe some motivated upper-intermediate ones. After doing this for a while (months, probably) you’ll start to really see an improvement. It will feel like you’re beating your head against a wall for a long time and then suddenly *bam!* you get better. That’s because getting better at a language is more like climbing up a giant set of stairs. You can’t see where you’re going until you reach the top of the step you’re working on.

I hope this article helps you to turn your anime addiction into something a little more studious. If not, well, at least you’re having a good time I suppose.

Since studying this way involves a lot of kanji knowledge, one way to make this type of study more effective and time-efficient would be to learn more kanji. Of course, we do WaniKani for doing that, but there are of course other methods as well.

Bonus Wallpapers!

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A former English teacher himself, Martinson draws from his own experience to create a fictional account of a young man named Dan Wells. The story is often ambient and introspective, emphasizing the day to day events of life abroad. Our hero, Dan, is a passive character rarely found in American storytelling. Martinson expertly guides Dan through the story and keeps him balanced, so we can easily look down on his passiveness in one scene and sympathize with it in the next. This expertise makes Tonoharu more than a mere parody of teaching English in Japan. It is a purposeful tale of a fully realized character teaching English in Japan, which in itself is rare.

The art, of course, is what draws most people to check out the series in the first place (myself included). Martinson’s style is reminiscent of the Belgian artist, Herge. The intricate backgrounds contrast with the simpler designs of the characters, allowing the reader to inhabit the story’s environments. Of course, there is little I can say that the art itself can’t say better.

Image from Lars Martinson / Media

Lars Martinson studied East Asian Calligraphy for two years in Fukuoka after his initial experience of English teaching. His own personal style, compounded with his knowledge of ancient inking technique, really shows and the art alone is worth a purchase of both volumes.

A paperback edition of Tonoharu Part One is due out this summer. Until then, hardcover editions of both parts are available through most book retailers and Martinson’s own website: http://larsmartinson.com/buy/

For the tech-savvy, Martinson’s more light-hearted e-comics are available digitally: http://larsmartinson.com/e-comics/

I recently had the wonderful opportunity to correspond with Lars for an EXCLUSIVE Tofugu interview! Below are insights into his stories, his art, his process and, most excitingly, the future volumes of Tonoharu!

For those who may not know, who is Lars Martinson?

Image from Lars Martinson / Media

I’m an American cartoonist that has spent half of my adult life in Japan. For the past decade I’ve been working on a graphic novel series entitled Tonoharu.

What is Tonoharu about?

Tonoharu tells the story of a young American who moves to rural Japan to work as an assistant English teacher. It is based (in part) on my own experience doing the same from 2003 to 2006.

Because Tonoharu is fictionalized and not a direct telling of your Japan experience, what inspired you to tell this story? Did you have an “aha” moment?

I’ve always been frustrated by how hard is it to relate my experiences in Japan to friends and family back home. It’s sort of like when you try to describe a dream to someone. It’s fascinating to you because you experienced it firsthand, but it’s almost always tedious for the listener because they don’t have the same frame of reference. My inspiration to create Tonoharu came from a desire to bridge this gap; to describe the experience of living abroad in a visceral way.

You’ve mentioned elsewhere that your main character, Dan Wells, is not you but merely a fictionalized character. That being said, how do you as his creator feel about him and his decisions? Was he difficult to write?

I’m certainly more driven than Dan. I made much more of an effort to improve my Japanese abilities when I first arrived in Japan, and have a clearer sense of what I want to do with my life. That said, I share a number of qualities with him, so he wasn’t hard to write. Like Dan I’m introverted, and often struggle to form meaningful connections with people around me.

How much Japanese did you know when you went on JET? How did the language barrier affect your experience?

I knew very little Japanese when I first arrived. Just a little bit of hiragana and katakana, and basic grammar. It improved quickly, but even now I feel like I have a long way to go. I heard somewhere that you can become fluent in three European languages in the same amount of time it takes to learn Japanese, and I believe it. It’s a huge undertaking.

One interesting consequence of my mediocre Japanese abilities is I tend to be more forthright when I speak it. It’s easy to be evasive in English since its my native tongue, but in Japanese I don’t have the language skills to dance around the subject. So I’m forced to distill what I want to say down to its naked essence. There’s a Dostoyevsky quote that goes “Stupidity is brief and artless, while intelligence squirms and hides itself. Intelligence is unprincipled, but stupidity is honest and straightforward.” I feel like this applies to how I use English compared to how I use Japanese.

Your main character, Dan, goes through a difficult bout of negative culture shock in the first volume. Did you have a similar experience?

Image from Lars Martinson / Media

Most people who live abroad experience culture shock to some degree, and I’m certainly no exception. I sometimes worry that I favored those negative moments a little too much in the first volume of Tonoharu, because many people who read it seem to assume I had an unequivocally horrible time in Japan, which certainly wasn’t the case at all.

You went back to Japan to study calligraphy for two years after finishing JET. How did that trip affect your art and your relationship with Japan?

Before I really got into it, I had no idea how deep East Asian calligraphy is, both in terms of history and technique. I’m now convinced that it’s the most sophisticated line art tradition in the world, hands down.

When a cartoonist wants to improve their penciling, they usually study Western art fundamentals such as perspective, anatomy and composition. I would argue that Eastern art fundamentals are just as useful to learn comic inking. Practicing East Asian calligraphy has improved my inking more than anything else I can point to.

Regarding your calligraphy learning experience, was it more of a disciplined practice that enhanced the skill you already had or was there something inherent in East Asian calligraphy that got added to you? Do you have any stories about the learning experience?

The discipline was certainly a huge part of it. Art classes in the US tend to emphasize personal expression over technique, so student critiques can be vague and coddling. The calligraphy classes I took in Japan were the exact opposite. We would be tasked with replicating a piece of classic calligraphy as accurately as possible. We’d show our attempt to the professor, who would point out where we went wrong, and we’d try again. They were technical exercises rather than creative ones, but they helped me learn how to control the brush in a way I never would have if left to my own devices. These skills, in turn, benefited my creative work.

Beyond technique, East Asian calligraphy has a number of qualities that informed my development as a cartoonist. It’d be too lengthy to get into them here, but if anyone’s interested I wrote a few entries about it on my blog:

http://larsmartinson.com/thoughts-about-lines/

What inspires you as an artist in the realms outside of comics? Music, film, visual art, etc.

I’ve always been fond of stories told through pictures, so most of what inspires me has visual and/or narrative elements. Wong Kar-wai movies, Knut Hamsun novels, and Hokusai’s sketchbook collections spring to mind as sources of inspiration. For music I really like Scandinavian folk; Hedningarna and Triakel are particularly good.

Recently I’ve become intrigued by the narrative potential of video games. I played Persona 4 Golden on the Vita last year, and it’s taken a place among my favorite narrative experiences in any medium. It paints a surprisingly subtle and nuanced portrait of a Japanese school life for a game that features demon-summoning and serial murder.

What is your favorite manga or manga artist? What draws you to that manga/artist?

I read tons of translated manga when I was in high school. Favorites at the time included Masamune Shirow, Johji Manabe, and Rumiko Takahashi. Eventually my interests drifted elsewhere, so I have to admit I’m not too familiar with the current manga scene. My favorite manga these days is hardly cutting edge: “Sazae-san” by Machiko Hasegawa. I explain why I admire it in this comic:

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What has been the reaction of Japanese people who have read your graphic novel?

Image from Lars Martinson / Media

More than anything Japanese people tend to be surprised by the format. The Tonoharu books are hardcovers with two-color interior pages, which is all but unheard of in the manga world. Manga is usually first serialized in weekly or monthly b&w anthologies, so creative choices such as page sizes and printing methods are out of artists’ hands. Conversely, anything goes for American indie comics, so there’s a lot more diversity in terms of presentation, use of color, and binding.

Many of our readers have expressed interest in moving to Japan to become mangaka. What advice would you have for them?

I’ve never actually worked in the Japanese comics industry, so I’ll refrain from speculating on that in particular. But in broader terms, I wouldn’t advise pursuing a “career” as an artist unless you can’t imagine being happy doing anything else.

By some measures, Tonoharu has been a massive success; it’s been covered in the Wall Street Journal and Entertainment Weekly, translated into French and Spanish, and has sold out two hardcover printings with a paperback edition coming down the pipeline. But for all that, I’ve never made anything even approaching a living wage off of my work. Granted, I don’t have many books to sell, since I work at a glacial pace (spending more than ten years on three books is pretty ridiculous). But either way, trying to make a living as an artist rarely makes financial sense no matter how productive you are.

That said, I’m certainly not trying to dissuade people from pursuing something they’re passionate about. Obviously I wish I made more money from my comics, but I don’t for a second regret creating them. I guess my advice to someone looking to work in the Japanese comics industry would be the painfully obvious; strive to improve your craft as much as possible, and become proficient in Japanese. And make sure you’re having fun doing it, because there’s a good chance it may not provide as much monetary compensation as you’d like.

Tonoharu Part Two ends with a cliffhanger. What is in store for Dan in the third volume?

With each book, I’ve tried to capture different aspects of the experience of teaching in Japan. Notably absent in the first two books is any sort of meaningful interaction between Dan and his students, so I devote a significant chunk of the third book to that. This makes for some of my favorite scenes in the whole series, so I hope readers enjoy it as well.

What is your opinion of Japanese cake?

Almost always disappointing.

“I wasn’t a fan. I didn’t watch on television or have videos or anything. I don’t watch soccer now and when I retire that won’t change. I don’t really understand why people are soccer fans. I don’t like to watch any sport so I don’t understand what makes people do that.”

Hidetoshi Nakata, the first Japanese soccer player to find success in the major European leagues, refuses to watch soccer and is not a soccer fan. So what made him decide to play in the first place? “Nakata [...] said that he read Tsubasa when he was young and that he had tried several of the skills featured in the manga, especially the overhead kick,” claimed Shisei Uchida from Weekly Shonen Jump, the longtime publisher of the world-famous soccer manga and anime Captain Tsubasa.

A Soccer Story in a Baseball Nation

In 1978, manga artist Yoichi Takahashi became a soccer fan. “In my third year of high school, I saw the FIFA World Cup in Argentina on television and discovered the excitement of the sport,” Takahashi said in an interview with Nippon.com. “At the time, soccer was semi-professional in Japan and the teams were really poor,” he commented. “I learned that in Europe, soccer was far more popular than baseball, and the number of soccer players was much greater.” As Takahashi’s interest in soccer grew, he discovered a whole culture surrounding the sport in not only Europe, but in his new favorite leagues in Brazil. Takahashi was one of the early converts in what would become (partially through his influence) a new soccer nation in Japan.

Baseball was the only nationally-popular team sport in Japan, and Takahashi’s favorite manga subject before his World Cup revelation. “During middle school I was into baseball manga, such as Dokaben and Captain, partly because I played baseball myself. Baseball was actually among the subjects I dealt with when I first started writing manga, but there were tons of baseball manga out there at the time. So I thought I might as well go with soccer, a mostly unexplored sport.” So in 1981, he created Captain Tsubasa, a story about an almost supernaturally talented young soccer player named Tsubasa Oozora who stars for his new high school, then the Brazilian leagues, then eventually for the world’s most famous soccer team, FC Barcelona. A Captain Tsubasa manga would run in the mega-popular Shonen Manga magazine Weekly Shonen Jump from 1981 to 1988, 1994-97, 2001-04, and 2010-12.

Tsubasa was not the first soccer manga—The Red-Blooded Eleven and Shinji Mizushima’s Downtown Samurai took advantage of a brief blip of national interest in soccer after the Japanese national team won a bronze medal at the 1968 Olympics—but it was the first to achieve massive mainstream popularity and inspire future soccer superstars to take up the game.

The Tsubasa Generation

It’s difficult to overstate the reach and influence of Weekly Shonen Jump. Today, in America, the Sunday New York Times has a circulation of 2.3 million. The weekend Wall Street Journal reaches 2.4 million customers. The USA Today: 1.7 million. In 1982, when Tsubasa was in its early stages, Weekly Shonen Jump had a circulation of 2.55 million, toppling today’s American newspaper giants. At its peak in 1995, while running the Captain Tsubasa: World Youth manga (and little comic called Dragon Ball), Weekly Shonen Jump had a circulation of 6.53 million. Even now in 2013, with increased competition both within the magazine industry and from more and more video games and television, Weekly Shonen Jump has a circulation of 2.78 million.

And Captain Tsubasa was one of their landmark comics. Its success spawned imitators like Offside and Whistle! and many of Japan’s first soccer success stories credited Tsubasa with their taking up the sport. Hidetoshi Nakata, the one quoted above who “doesn’t like to watch any sport” and “tried several of the skills from the Tsubasa manga” was the first Japanese soccer player to have top-tier success abroad, including winning the Italian championship with A.S. Roma in 2001 and playing in the English Premier League and UEFA Cup with the Bolton Wanderers.

The outsized influence of Captain Tsubasa on Japanese soccer has had one major drawback: Tsubasa Oozora plays in a Maradona-inspired attacking midfield position, between the pure forwards/strikers and the defenders and defensive midfielders. Following his example, Japan has become a nation of midfielders, constantly struggling to find center-backs and strikers for both the J. League and the Japanese national team. Japan’s true superstars playing abroad—Keisuke Honda at CSKA Moscow (joining the even higher-profile AC Milan in January), Shinji Kagawa at Manchester United, Makoto Hasebe at FC Nurnberg—are all midfielders. Maya Yoshida is Japan’s most successful true defender ever, currently playing in the Premier League for Southampton, yet he too was a midfielder until J. League club Nagoya Grampus converted him to defender to fit him into their lineup. And none of the Japanese national team’s forwards actually play that position for their club: Hiroshi Kiyotake, Shinji Okazaki, Yoichiro Kakitani, and Takashi Inui all naturally play in a Tsubasa-style attacking midfield position. Directly or indirectly, Japan is now full of players who try to play the Tsubasa style, to the point that it makes it difficult to find other kinds of players.

A Cup Hosted, A Cup Won, and Tsubasa’s Homecoming

By 2002, when all the Tsubasa readers had grown up, Japan had a fully professional soccer league and had won a Korea/Japan joint bid to host a World Cup. Japan had never even qualified for a World Cup until 1998, but they defeated Russia and Tunisia before being eliminated by Turkey on home turf in Miyagi. The Japanese men’s national team had made extremely rapid progress from near non-existence to global contender status in only twenty years.

The Japanese women’s national team has seen even greater success. At the 2011 Women’s World Cup in Germany, Takahashi paid the team a visit before the Cup Final. Japan went on to beat the United States and claim their first World Cup trophy, led by Homare Sawa, yet another Tsubasa-style attacking midfielder wearing his number (10) and driving the offense with creative passes and long-distance shots.

Takahashi was even called upon to support Tokyo’s bid for the 2016 Olympic Games, representing the country’s soccer legitimacy against Raul for Madrid and Pele for the eventually successful Rio de Janeiro bid. He drew Tsubasa and fellow main character Wakabayashi on the Tokyo 2016 flag flying in Copenhagen, where the host city was to be chosen.

A World of Tsubasa Fans

Tsubasa successfully interested a wave of Japanese children into soccer, so perhaps it was only natural that it would become even more popular in countries that were already sold on this whole “soccer” thing. The anime was translated and broadcast all over the world, in every language from Arabic to Tagalog. In the Middle East, viewers tuned in to Captain Majed. In South America, they watched Supercampeones. North American Tsubasa fans thought they were watching a show called Flash Kicker. And in Europe, Tsubasa was renamed Oliver and the goalkeeper Wakabayashi was renamed Benji, so many Spanish and Italian soccer players grew up obsessed with a cartoon they called “Oliver and Benji.” It was this version of the show in particular which inspired many current-day stars to take up the sport.

Fernando Torres, from the 2010 FIFA World Cup-winning Spanish national team, said “I remember when I was a kid, we couldn’t find the signal really well on TV, but everyone in school was talking about this cartoon about football, from Japan.[...] I started playing football because of this.” Alessandro Del Piero, a key player for Italy during their 2006 World Cup victory, also loved the cartoon as a child and treasures a signed drawing Yoichi Takahashi gave him in 2011. “When I saw Del Piero and [FC Barcelona defender] Francesco Cocco, they told me that they had read Holly e Benji [Captain Tsubasa’s Italian title] from an early age,” Takahashi told the Daily Times, who noted that he was “visibly pleased.”

Captain Tsubasa has had an enormous influence on soccer not just within Japan but all over the world. When Takahashi Yoichi sat down with Nippon.com, they said “Last year [2011] marked the thirtieth anniversary of Captain Tsubasa. Japanese soccer has made remarkable strides in that interval, and both soccer fans and those in soccer circles admit that this progress would not have been possible without the series. What is your take on this?” Takahashi replied “I think it isn’t so much the influence of Captain Tsubasa as it is the appeal of soccer itself that has led to the wide acceptance that the sport enjoys today. But I’m grateful that people say so, and it honestly pleases me to think that I may have been able to give a boost to Japanese soccer to some degree.”

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Bonus Wallpapers

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Sources:

• The Sunday Times – “I don’t understand why people are football fans. I don’t like to watch any kind of sport.” Bolton’s Japanese midfielder Hidetoshi Nakata
• TradingEconomics.com – Historical population of Japan
• Rakuten Plaza – Downtown Samurai scans
• Comipress – The Rise and Fall of Weekly Shonen Jump
• Nippon.com – A Soccer Hero Adored Around the World
• Daily Times – Comic strip hero who inspired Nakata and Del Piero
• The Daily Mail – “Fernando Torres: I took up football because of Captain Tsubasa”
• FIFA Soccer 11 “We Are 11” – Episode 10, Captain Tsubasa
• Goal.com – “In the footsteps of Captain Tsubasa, Shinji Kagawa continues to inspire a nation”
• AlessandroDelPiero.com – “Capitan Tsubasa”
• AFP – Japanese comic superhero drawn to Tokyo Olympic bid

Ha! You wish. Some people really truly love their two-dimensional partners. And this article is for those aspiring to become one of them.

When Love Is Not Enough: Love Plus

Whether it’s a two-dimensional girl or a two-dimensional 01100111 01110101 01111001 you’re looking for, you’re in luck. They come in all shapes and sizes, though mostly flat ones. But say you do get into a committed 2-D relationship. You’re serious about him/her. Would it be possible to actually marry my 2-D partner? Seal the deal? The answer is … probably not. I think this question on Yahoo知恵袋 (Japanese Yahoo Answers) sums it up quite well:

Q. 二次元の女性との婚姻届は出せますか？
Can I legally marry (do the marriage registration of) a 2-dimensional girl?

A. 戸籍（外国人なら婚姻要件具備証明書等の書類）が無いので無理でしょう。
Since they don’t have a koseki/family register it’s probably impossible.

It’s nice that the answerer actually came up with a real reason.

The person asking the question isn’t alone, though. There are, of course, many people who have fallen in love with a 2-D guy or girl (though mostly it’s a 2-D girl). One game that kept coming up in my research was Love Plus, a dating sim for the Nintendo DS.

I remember how back in the day when I played Hatoful Kareshi I became madly in love with one particular pigeon, only to have my hato broken. So, I can only imagine what Love Plus would do to me. Apparently this dating sim is convincing enough that people have actually married their Love Plus partner in real life, though I imagine the legality of said marriage is pretty nonexistent at best.

I do!

There are many stories of this out there about Love Plus destroying / creating marriages.

One man (known as SAL9000, pictured above) fell so in love with Nene Anegasaki (a character in Love Plus) that he married her and took her on a honeymoon to Guam. So, he and his Nintendo DS (I hope he has save file backups!) livecasted their trip on NicoNico and then held a public reception when they got back to Tokyo. [Source]

In another Love Plus story, instead creating a beautiful 2-D union the guy just ended up hurting his real life 3-D one. Koh (the guy), bought Love Plus for his DS just to see what the hype was about and found himself hooked. After committing himself to Rinko in the game, their relationship got deeper and deeper. She started calling him by his first name and began to demand more attention. BoingBoing wrote about this and did an interview about it, some of which is pasted below:

Koh, what do you and Rinko do together?
OK, this is pretty embarrassing. The DS has a mic and a touchscreen, so… one time, she asked me to say “I love you” a hundred times into the mic. I was on the airplane when she asked me that, so I was like, no way. There was also this part where you have to hold her hand on the touchscreen. If you touch her hand with the stylus, you get to hold her hand. And then there’s the part where you have to kiss her.

Did you do it?
No, no! The girl’s face shows up on the screen, and you have to touch her lips to give her a kiss. That’s pretty weird…. this is embarrassing. I’m sweating right now just talking about it. Yurie: Ew. Do people really do that? Koh: I guess some people do.

[...]

But Koh, you have a real woman in your life.
That’s why I was able to come back. Thank god! I was only stuck in that world for about a week. Also, I got hooked when I was in Japan on a business trip, so when I came back to San Francisco, I didn’t play it that much. Maybe just for a day. In the bathtub

[...]

Yeah, if I was playing too many games and that was compromising the time I spent in my real life, that would be a problem. It’s the same with Second Life or World of Warcraft. If I got too into something and couldn’t come back, that would be a problem. At the same time, though, the danger I felt when I almost got sucked into Love Plus was very human. If I was single and had gotten too into this… I don’t know, I recognized that there was a me in there that could have a real attachment to this artificial character on the other side of the DS screen. It made me think that humans could probably pretty easily develop feelings for AI robots. It’s the same with animals, right? Animals don’t speak words but you can really love them. But I do think it has something to do with the simplicity of men. I’d be really curious to see how women would react to a boy version of Love Plus.

[...]

So what is your Love Plus girlfriend doing now?
I’m too scared to find out. I’m probably going to get in big trouble if I open it after leaving her alone for several weeks. Maybe she’s dead now. That would be scary.

That’s a pretty edited version of the interview (read the full interview here), but you get the idea. The original interview included his wife as well, and she was surprisingly okay with it. She essentially said that as long as her husband knew that this was a game and that’s all, it’s okay with her. She was more concerned with the amount of time he played on it, more than anything. So, there’s hope for some of you guys yet!

Of course, there are other dating sims out there that dudes get addicted to, but this game is pretty high up there in terms of getting dudes in trouble. After coming out, wives and girlfriends got onto the internet to complain to Konami for stealing their men away. I can’t imagine the release of the 3DS helping out their cause any.

When You Love Sleeping

Personally, I’m a huge fan of sleeping. I do it every night, most nights. If only the person pillow I loved could be by my side during all those special unconscious moments! Wait! That’s a thing already!

If you head on over to Akihabara’s possibly X-rated and not X-rated shops, you’ll see all kinds of body pillows adorned with scantily clad anime ladies (and men). While this isn’t solely a Japanese thing anymore, I think it’s pretty safe to say that this whole idea either originated or got popularized in Japan.

One man, Nisan, was written about in the New York Times Magazine. The “how they met” story brings a tear to my eye.

Their first encounter — at a comic-book convention that Nisan’s gaming friends dragged him to in Tokyo — was serendipitous. Nisan was wandering aimlessly around the crowded exhibition hall when he suddenly found himself staring into Nemutan’s bright blue eyes. In the beginning, they were just friends. Then, when Nisan got his driver’s license a few months later, he invited Nemutan for a ride around town in his beat-up Toyota. They went to a beach, not far from the home he shares with his parents in a suburb of Tokyo. It was the first of many road trips they would take together. As they got to know each other, they traveled hundreds of miles west — to Kyoto, Osaka and Nara, sleeping in his car or crashing on friends’ couches to save money. They took touristy pictures under cherry trees, frolicked like children on merry-go-rounds and slurped noodles on street corners. Now, after three years together, they are virtually inseparable. “I’ve experienced so many amazing things because of her,” Nisan told me, rubbing Nemutan’s leg warmly. “She has really changed my life.”

Nisan of course knows she’s not real, but the love is, he says.

“Of course she’s my girlfriend,” he said, widening his eyes as if shocked by the question. “I have real feelings for her.”

It’s not just Nisan, either, though Nisan is much more public with his love for Nemutan because he takes her around everywhere. There are thousands of other people just like him who feel an emotional attachment to their dakimakura, and it’s turned into a kind of subculture where people make custom designs, sell them, buy them, and gather together to talk about them. One very important factor I learned about was the type of fabric. Smooth knit is good. I guess that’s the kind of thing you go on since the personality of the pillow is whatever you want it to be.

This culture is getting larger and larger too, it seems to me, and I don’t think it will slow down. We’ll talk about this more in the next section, but before we do that I just wanted to mention that if you’re looking for your very own special pillow someone, Tofugu actually runs the number one body pillow dating site in the world, so find Your One True Threadcount™ today!

When 2(D) Is More Real Than 3(D)

You may be wondering… why in the world would someone love a two-dimensional person??? While I don’t know from my own experience (except with my beautiful birdfriend Nageki Fujishiro. WHERE ARE YOU COME BACK TO ME!), similar themes came up again and again when I read through articles and research. Surprisingly, after reading so much I’ve come to realize it’s not actually all that weird and makes sense in a way. I’m not saying it’s for me, but I can see why people would feel and think this way.

First lets start with some general numbers about 2-D characters. How wide-spread is this phenomenon?L et’s take a look at a study done by 瞬刊！リサーチNEWS in May of 2013.

Q. Do you have an ideal man/woman from a 2-D world?

MEN (Answers：17,387)
- Yes: 33.6％
- No: 48.5％
- I don’t read manga and don’t watch anime: 17.8％

WOMEN (Answers：18,767)
- Yes: 40.9％
- Now: 42.9％
- I don’t read manga and don’t watch anime: 16.2％

Surprisingly, that’s 33.6% of men and 40.9% of women who said yes, they do have an ideal man/woman from a 2-D world. Of course, this doesn’t mean that all of these people are in love with an two dimensional character. Far from it. It does however show how anime/manga characters are personifications of “ideal” people you’d want to know or be with. With so many of them, of course you run into one or two that match the kind of girl or guy you’d want to date. But, that’s the same as with TV dramas or movies too, and these have real people in them. So, it’s not all that different from that. Children idolize cartoon superhero characters all the time. They want to be them, which isn’t all that different from wanting to be with a cartoon character, I’d say. The line that’s drawn has to do with knowing or thinking that you can be with them. I think Japan’s line is a lot harder to see.

The difference with Japan I think is the saturation of 2-D characters. If all you see is 2-D, and if this many people are able to idealize a 2-D character, then of course some of them are going to fall in love with them too. It’s still a very small subset of people that do this, but if you throw enough cats at the wall, one or two are going to stick, you know?

So what happens if you ask a similar question, but only with otakus. Someone took a group of 500 otaku dudes and polled them already, and here are the results:

Q. What Kind Of Females Do You Like?

2D Women: 23%
2.5D Women: 9.6%
Real Women: 65.8%
*2.5d = three dimensional animated girls

So, out of the otaku subset, you have around 30% of them who reportedly prefer not-real women. Of course, preference doesn’t mean you’re dating a body pillow, but you are leaning in that direction, at least.

There are a few generalized reasons why otaku dudes are more likely to fall for a 2D girl rather than a real one as well, from what I’ve read of individual experiences:

1. There are way more otaku guys than girls. So, since otakus are more likely to date other otakus (rather than outside this otaku circle), there are fewer possible girls to date.
2. It’s harder for otakus to find dates with real people. This is partly due to shyness and partly due to confidence and partly due to lifestyle choices, supposedly.
3. Otaku tend to have very good imaginations from all the anime, manga, and storytelling that they are surrounded by. The better your imagination, the easier it is to imagine the ideal personality onto a figure, body pillow, etc. The inanimate object “comes to life” in their head because of their vivid imagination.

There are also other reasons as well. Things like bad previous relationships often play a part. Not-real people won’t hurt you or leave you or cheat on you, after all. But, if you’re not 100% committed to this lifestyle you could be hurting somebody else, too! A real person! There are so many stories of desperate girlfriends trying to make their guys love them when a 2-D girl is creating competition. Here are some summaries of people having trouble with this from various blogs, forums, and websites:

One girl complained that she has a boyfriend who can only date 2-D girls… but he loves her, though he’s sick of 3-D girls. [source]

Another girl (who also likes anime) has feelings for a guy who loves 2-D. They enjoy talking about anime together too. When she asked him if he has someone on his mind, he replied by saying he only loves 2-D girls. She wants to kokuhaku but is afraid he’ll reject him. [Source]

Another post had a list of replies on why they can only love 2-D characters. One said that it’s not that they can only love 2-D, but that they’ve never been loved by 3-D. Someone replied saying that they are the same, and only 2-D girls would accept them. Another guy talked about how the more he learned about 3-D girls, the more he loved 2-D ones. Then there’s others who said that they don’t get tired of 2-D women (like they do with 3-D ones) and yet another that said they don’t want to be hurt by a real woman, so they choose 3-D. [Source]

There was also a girl I read about who loved 2-D characters. She says she’ll never be hurt this way. She pretends she’s looking for a boyfriend so people don’t think she’s weird, but she knows that if she had a boyfriend it would take time away from being able to think about her manga characters, so she doesn’t actually want a boyfriend that much. [Source]

And lastly, there’s one person who thinks that loving 2-D women is a form of evolution. I think this was the plot of one X-Men comic I read. He says that a normal guy’s brain wave reacts when they watch porn because they live in the 3-D world. However, a 2-D lover doesn’t have the same reaction when watching 3-D porn. It does react when they watch 2-D anime, though. He further goes on to state that this is proof of some kind of evolution that allows men to survive using less energy. Around 10% of otaku guys have this evolved brain pattern. Look out, lesser-humans! [Source]

So there you have it. Maybe more people than you thought are into the 2-D. Maybe you knew it all along because you’re on the front lines. Hopefully you understand better why it goes on. I think one issue out there is that most people just automatically assume all these people are serial killers. To be honest, they’re all probably nice people. Many of them lead very normal lives (besides all this). While I’m not one to be a part of this lifestyle, I’m not going to judge it as well… poke fun? Maybe a little. But, I hope you’re nice in the comments as well. Read some of the linked articles and stories, it’s quite fascinating and interesting.

Main thing is you don’t let your 2-D or 3-D loves get in the way with each other, I think. The 3-D one will win every time. Question I have, though: is it real murder if you come home to your Nintendo DS broken in half and then drowned in water?

ANGRY KOICHI SAYS BE NICE IN THE COMMENTS, OK?

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Bonus Wallpapers!

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