The Moe Manifesto: An Insider's Look at the Worlds of Manga, Anime, and Gaming

by Patrick W. Galbraith

MOE is a huge cultural phenomenon and one of the driving forces behind the enormous success of Japanese anime and manga—not just in Japan now, but throughout the world.

In Japan, avid fans of manga comics, anime films and videogames use the term MOE to refer to the strong sense of emotional attachment they feel for their favorite characters. These fans have a powerful desire to protect and nurture the young, beautiful and innocent characters they adore—like Sagisawa Moe in Dinosaur Planet and Tomoe Hotaru in Sailor Moon. They create their own websites, characters, stories, discussion groups, toys and games based around the original manga and anime roles.

Author Patrick Galbraith is the world's acknowledged expert on MOE and a journalist based in Tokyo. For this book, he interviewed twenty important figures in the world of Japanese manga and anime to gain their insights on the MOE phenomenon. These interviews provide us with the first in-depth survey of this subject. Galbraith uncovers how MOE is influencing an entire generation of manga artists and readers. For those new to anime, manga, and youth culture in Japan, he discusses what constitutes the ideal MOE relationship and why some fans are even determined to marry their fictional sweethearts. He reveals key moments in the development of MOE, and current and future trends in the spread of MOE works and characters from Japan to other parts of the world.

The Moe Manifesto provides an insider's look at the earliest MOE characters such as Ayame by Tezuka Osamu. The book has over 100 illustrations of the most famous MOE characters, many in color, and it is sure to delight manga and anime fans of every age.

Genres: Nonfiction, Japan, Anime, Cultural, Manga, History, Theory

192 pages, Paperback

First published March 11, 2014

About the author

Patrick W. Galbraith earned a PhD in Information Studies from the University of Tokyo, and is currently pursuing a second PhD in Cultural Anthropology at Duke University. He is the author of The Otaku Encyclopedia (Kodansha, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010), Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto (Tuttle, 2014), as well as the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave, 2012) and Debating Otaku in Contemporary Japan (Bloomsbury, 2015).

Reviews

[RaspberryRoses · Rating 3 out of 5]

An interesting set of interviews, but I think the title is rather misleading. Because there's really no analysis or manifesto - it is just a set of interviews with scholars and people in the entertainment industry. There is absolutely no further discussion or synthesis of the ideas.

Which is... SUCH a shame. Because it just feels so clunky and empty without this analysis. I am desperately asking Patrick W. Galbraith to push further on the question of why is there often such a push to see high school girls as objects of sexual and romantic desire?. It's brought up a bit, but none of the interviewees seem to take the idea as something to be seriously troubling, and it's never followed up on.

And it just sucks, because I do love so much of what this book has to offer. It's variety of perspectives is really such a treat, and I learned a lot. But this book needed more meat on the bones. It needed analysis. Instead, it's kind of just some raw material...

[Madlyneon · Rating 2 out of 5]

I received this book via Goodreads' First Reads Giveaways. That was in July. It has taken me this long to realize that I will never finish this book.

The vast majority of my complaints for this book stem purely from its format.

First of all, to call it a book is a bit too generous. It is a series of long interviews. Which makes Patrick W. Galbraith's work remarkably simple. All he need do is soft-ball some rather pointed, leading questions to pop culture and anime/manga experts. This does not an author make. This is the work of a trial lawyer.

Consequently, the book feels disjointed. It is a patchwork of different voices. Galbraith wrote an intro first chapter, but that is only 23 pages of original content and the rest of the book is other people doing the talking for him.

Secondly, the book takes a very defensive point of view in regards to anime/manga fans. Which is silly since the vast majority of persons who will pick up this book will most likely be anime/manga fans.The book boasts a pink cover with a smorgasbord of cutesy 2D girls. Who else but other anime/manga fans- who already have sympathetic leanings towards the community and are already very knowledgeable about Hatsune Miku- would pick up this book? It feels like preaching to the choir. Too much time is spent trying to legitimize the concept of "moe" and trying to make the fanbase seem normal.

This book is written by a fan for the purposes of making fellow fans feel better about themselves. A scholarly read this is not. The only worthwhile bits of the book center around the early history of manga and Japanese Art. Besides that, this book is an uncritical echo chamber of 19 voices and, most curiously of all, Patrick W. Galbraith's voice seems to be missing.

[K(n)itsune · Rating 5 out of 5]

I am so glad I discovered this book, it is a treasure for any anime, manga, and gaming enthusiast! I believe this book is a foundational element in any fan's collection, and I intend to give it as a gift regularly, because it is clear to me that anyone with even a passing interest in these media will benefit from the enlightening information presented here. I know I will refer to my copy constantly as well as the occasional re-reading just for fun! This should not be a problem because the binding and paper quality are excellent, so I should have no trouble enjoying this book for years and years to come.
Moe, though a bizarre and difficult concept when viewed in the context of mainstream culture, is crucial to anyone with a desire to love and understand "Otaku" culture, or any other fandom phenomenon. Through a series of engrossing and insightful interviews, Patrick W. Galbraith sheds light on the subject from many angles, allowing the reader to develop their own grasp on moe while also learning the textbook definition and becoming familiar with examples. This book will give readers valuable history lessons and, what I was most grateful for, recommendations; a sort of curriculum of moe works for people to explore. While perfectly accessible to the layman, this book would be equally at home in a more academic situation.
All this wonderful information is presented in and enjoyable and engaging manner, with lush illustrations, helpful footnotes, and a pleasing conversational voice all wrapped in a glossy, high quality volume. Whether you are a fan yourself, seeking to better understand fans, or looking for the perfect gift for the fan in your life, The Moe Manifesto is a perfect choice.

[Chi Pham · Rating 3 out of 5]

This book is a collection of interviews with different insiders of the Japanese "otaku" industry, ranging from supportive views to critical perception of the (current) state of things.

Some pieces are mildly interesting: how magical girl genre used to construct positive career role models for young girls, before receding into the cliche of girls fighting evil; how the labelling of "otaku" as outsider was used to explain away the cultural alienation of a sizable part of the Japanese society, including perpetrators of some horrendous crime; etc.

However, most of the books concentrate on delivering pieces of information that will delight hardcore fans (hence the insider's look) than will expand general interests in the subculture.

[Nadia Theresa · Rating 4 out of 5]

Precise rating: 4.5 / 5

The complete review from me can be found in this blog: https://emonymphreads.wordpress.com/2... (It's written in Indonesian)

[Ernest Schaal · Rating 4 out of 5]

As someone living in Japan and fascinated by the modern trends of Japanese culture, I have enjoyed books by Patrick Galbraith, including this book. But the effect of the book might have been different than the author might have expected.

I am fascinated by modern Japanese culture, and although I am not a particular fan of anime or manga, I am curious about the otaku who are obsessed about these topics. I had heard the word moé, but didn't know what it meant. Now, I know and it made me rethink my view of manga and anime.

The book is a collection of interviews, with illustrations, that in total give me a feeling that I now know what moé means, and it is not meant for me. Mr. Galbraith is a good writer and an good interviewer, and his interviews gave me an image of people not able to find real love in the real world who find a suitable replacement to fulfill their needs. The common theme in that Japanese women, being much more selective, and Japanese men, because of the economy not being successful in finding a 3D mate, settle for the unquestioning world of idolization of two-dimensional characters who will neither accept them nor reject them. As one otaku he quoted said, real otaku don't yearn after 3-D women.

Reading this book, I was sad for those who couldn't find soul mate, but I realized that seeking love in a 2-D character is better than nothing. There is a whole culture here which cannot find female companionship because the standards set by the female population excludes this section of the male population.

The book explained to me, a happily-married non-otaku, what the pressures they face and why they choose this unconventional avenue of love-fulfillment. It also explains the success of AKA-48 and other idol group. To this sub-section of men who cannot attract 3-D women, this is a non-threatening way to have unrequited love without the rejection by the object of one's affection. As a practical matter, 2-D women will never reject you because they are imaginary and don't even know you exist.

The book is fascinating in the portrayal of this sub-culture, and is well-written. It made me understand and feel sympathy for a sub-culture that I would never want to join.

[Agnese · Rating 3 out of 5]

It offers a series of interesting takes on Otaku culture and the birth of the concept of Moè, however it feels quite repetitive. Half of the interviews could have been left out, as they are quite irrelevant in bringing forward the intent of the book. I also feel like sometime Galbraith doesn't take his interviews where he should, offering only trite questions to the authors.

The interesting concepts of the book could be condensed into 30 pages

[Alessandro · Rating 5 out of 5]

Ogni tanto ragiono con la deficienza™ e prendo opere semplicemente perché voglio passare un po' di tempo all'insegna del fanservice o simili.
E sistematicamente ogni volta che lo faccio (ciao Nana e Kaoru) mi ritrovo davanti a robabbuona, ma buona tantissimo.
The Moe Manifesto ha un titolo altisonante, una grafica di copertina sparafleshatissima ultrakawaii beri pinku, e, soprattutto per chi si avvicina fisicamente al testo, una quarta abbastanza generica, la cui tagline è «with more than 100 illustrations of moe characters old and new».
Tutto ciò fa pensare a un libro simpatico ma molto leggero su un argomento estremamente pop.
#EInvece
Dopo le prime 20 pagine di introduzione, all'argomento e alla percezione pubblica, le restanti 160+ consistono in interviste pure e dure a figure che hanno vissuto e/o (indirettamente) contribuito a creare il fenomeno moe, figure che quindi, una volta letto il libro, potrete liberamente citare per zittire chiunque cerchi di teorizzare il moe in una maniera totalmente occidentale.
Perché se c'è una morale da trarre da questo libro, è che l'intero fenomeno... è molto fumoso: tutti concordano nel dire che moe è l'attrazione verso personaggi immaginari, ma ogni personalità offre una propria visione, chi più sognante, chi più otaku, chi più cinica, chi più scientifica, etc.
Vediamo un Tōru Honda che professa l'amore puro per le figure 2D, un Jun Maeda che crea storie per portare gli adolescenti e adulti a rivivere un'esperienza liceale emozionante, un Toshihiko Sato che ci ricorda che Minky Momo è nato prettamente per vendere giocattoli alle bambine dai 3 ai 5 anni e non per fornire waifu ai trentenni, un Kimio Ito che focalizza l'attenzione sulla figura topica del salaryman perfetto e dei relativi "umani falliti", che per allontanarsi da quella concezione statica del vir nipponico si sono rifugiati nei sentimenti degli shōjo anni '70... e molti altri.

È una lettura che mostra una visione oggettiva, frammentaria di un fenomeno essenzialmente incomprensibile a noi occidentali, e allo stesso tempo offre diversi spunti esterni.
Wow.

[Simos Varrias · Rating 3 out of 5]

The book is actually a collection of interviews of well educated and important ( for the subject ) people. As entertaining as that may have been, i would like a little bit more original writing. It felt like it would be better on youtube than read.

[Kikoman589 · Rating 3 out of 5]

The Moé Manifesto is a collection of interviews with manga/anime/bishōjo game insiders and artists about moé, recent Japanese history and how it impacted media, cultural icons, males, youth, Akihabara, the interviewees themselves, and cute girl characters. We see differing perspectives and explanations as to what moé means, its unclear origins, and why it grew to such popularity.

While I never considered myself a fan of moé specifically, I definitely feel moé towards some characters, especially over the past couple of years (before 2018). The first section by author Patrick W. Galbraith is informative and a good introduction. Most of the interviews made me learn something (however small) new and a select few sentences even made me question my own existence. As a fan of anime there were a few moments that made me go "AAAAAAAAA" because a certain character/series was shown, and the book provides plenty of illustrations that spice up the look and feel of it all.

My main problems were that some of the interviews felt too short and really should have gone more in-depth with the interviewee, and I feel like the book in general could have gone deeper. Another one is that despite the introduction, the book ends abruptly with no conclusion by Galbraith or anyone. Even if the general sentiment was that moé is not a clear-cut concept, that doesn't excuse the lack of a conclusion. It's as if you aired a series but never aired the last episode. It also wouldn't have hurt to include an interviewee who opposed the whole trend or otaku culture, and finally some answers to the questions sort of repeated previous ones.

It didn't completely change my view on moé but it made me open up a bit to different forms and interpretations of it, and it held my interest most of the way through.

6.5-7/10 - Alright/Good

[Oleksij Bunyk · Rating 4 out of 5]

I am generally interested in popular culture and with the increasing influence of Japanese one it was a question of time when I start looking for some research on it. So I start reading this book to better understand what is "Moe", how it became a thing, why people into it, and how it shapes popular culture inside and outside anime medium. And in the introduction author asks the similar questions, but the book doesn't exactly answer them. Still, the book is far from a waste of time, but let start with some negatives.

The first thing you need to understand - this book is not a starting point into the world of Japanese pop-culture and "Moe", you should be familiar with it already and at least know what is Kyoto Animation anime. Secondly - this book is just interviews with people, not some kind of semi-academic research on the topic. Yet some of the interviewees was researching pop-culture, so their word can be taken as scientifically approved arguments. The last thing - this book called "manifesto" not without reason: most of the interviewees are in "otaku" culture or supports it so their views on the subject are biased, and there are almost zero arguments about possible negative effects that "moe" culture could have.

As an "interviews" book it has a great plus - it is easy to read. Both questions and answers are simple and natural, so there is no need to look between lines for higher meaning. Also, illustrations are arranged in the way that they help to present a point that is discussed, and in this case, it was done perfectly. Plus, hearing the history of the "moe" revolution from the peoples who did this revolution. The Maeda Jun (the guy behind Clannad) interview is my personal best here.

[Michael Kato · Rating 4 out of 5]

Patrick W. Galbraith is arguably the most entertaining and insightful writer on contemporary Japanese pop culture. His writing is based on the research of an academician by training and an otaku at heart. While the academic makes a strong case for the cultural and social importance of manga, anime, and gaming to contemporary Japanese society, it is the otaku that explores and uncovers what is real and not just what the "adults in the room" imagine without experience or understanding.

When I first started reading the book a few years ago, not long after it was published in 2014, I didn't have enough familiarity with the subject matter to find the book useful. But in the ensuing years, having watched hundreds of anime, read countless manga, and played many games with my children, boys who are now in their middle and late teen years, I have gained a broad knowledge of real Japanese pop culture, with enough depth to finally comprehend Galbraith's analysis.

Far beyond mere fandom but with the depth of knowledge and understanding of the subject that only a true fan could unearth, The Moe Manifesto is a book that lives up to its bold title.

[Marisa · Rating 5 out of 5]

Before I started it I wasn't all that sure what moe was. Now I have a much better understanding of it. The book is wonderfully illustrated. Each chapter is a interview with someone connected to the otaku community from professors to game designers. It has examples from the 1970's shojo stories to Oreimo. It was an interesting read.

[Jessica · Rating 2 out of 5]

An interesting insight to the world of anime/manga.
The pictures are cute and the interviews with creators are an insightful read.

For fans only.

[hannah peterson · Rating 4 out of 5]

3.5. as someone who did not grow up watching anime who is now a big anime fan, i am always interested in learning about cultural phenomena within that sphere to see what it was like or what i “missed out on”. this book is not what i thought it was going to be; instead of a history lesson, it is a series of interviews with several people in the manga, anime, and gaming industry to truly find out what “moé” is. in simple terms, moé is an overwhelming adoration one feels for a cute, usually girl character. the media where these girls are found does not usually contain a strong story, as the idea of “cute girls doing cute things is the main focus”. the moé boom of the 2000s helped otaku culture become less stigmatized in japan. moé is also usually expressed by male otaku. while the interview format is not my favorite, i appreciated it in the end for it avoided any sort of bias he author may have had if he had written it how i wanted. there is a different variety of opinions within the book about what moé is and otaku culture in japan as a whole. however, most people agreed that the definition of moé has changed over the years and no longer means what it may have used to. for instance, many of the interviewees mention neon genesis evangelion as a huge step forward, as people felt an incredible sense of love for the two main female characters, rei and asuka. however, those two girls were not just cute girls who existed for the point of being cute; they were two traumatized individuals who tried their best to grow as people and become adults as the story of NGE progressed, both always fulfilling important roles and helping the main character, shinji, grow as well. many individuals felt moé for these characters. a more modern moé example would be nothing like these two girls, she would simply exist to be cute and silly to the viewer (lucky star was often mentioned by these people as well). i thought it was interesting how there were discussions on gender on sexuality for these male otaku. on one hand, otaku like bishojo as they are weak and like the idea of a cute, innocent girl who is weaker then them. this also brings an idea of control and how characters are easier to control than real-life women. on the other hand, otaku like bishojo due to their desire to be like them. a love of characters who cross-dress comes from this; i think a deeper dive into gender in japan would be so fascinating to learn about.

i could spend forever writing about this, but overall i enjoyed the book. i look forward to reading more of galbraith’s work in the future. i think an interview with takahashi rumiko would have been incredibly fascinating to read, as she was a pioneer for both the cute girl genre and the gender-swap genre, but i think the whole idea of moé might be a little out of her wheelhouse.

[melancholinary · Rating 4 out of 5]

It is safe to say that I've been into otaku culture since, perhaps, age 8 or something. It is also safe to say that my first moment in my life that I attracted to female is the Makoto Izumi character from the 90's 'trendy dorama' Beach Boys that aired on local TV station. The general confusion of this feeling of attraction to fictional character is surprisingly determined my criteria of 'ideal girl' in reality - yes, I only attracted by person who is resembled the visual presentation of Makoto Izumi; short hair, petite and cheerful. Throughout the time I never understand and have ability to comprehend this feeling, until I encountered the anime series K-On a decade later. I love K-On, whether with or without narrative the characters within its universe is appealing to me. I am aware with the term moé, but never pay attention to its effect. However, the online debate of fans labelling K-On as just a moé show about 'cute girls doing cute things' sparked my curiosity. Fast forward, I discovered The Moé Manifesto.

The Moé Manifesto is indeed interesting. Rather being an academic book devoted into theorising moé, Galbraith decided to interview the industry insider, cultural analyst and general otaku to answer a several questions regarding the notion of moé. The interviewees are important person on the industry and their opinions is really really solid on the level of critical analysis to the phenomena of moé. A lot of opinions on moé in this book might even categorised to the post-modernity look - this is brilliantly describe by one of the interviewee that compare the otaku culture to hip hop remixes.

Through The Moé Manifesto, now I am safe to say that I might understand what is this feeling of attraction to a fictional character - albeit it is a 3d real human, but hey it still fictional! - that I fall with Makoto Izumi. It is certainly moé.

[Rodrovich · Rating 3 out of 5]

Although I appreciate the sheer volume of perspectives that Galbraith wanted to compile in this book - there were a few that didn't really add much to the amalgamating definition of moe and their feelings surrounding moe. The ones that stood out to me the most were the ones from cultural critics than the people in the industry, which is interesting. Honda Toru’s definition of moe seemed really compelling and I feel like his interview probably where he really made himself vulnerable as an otaku with his interesting but contentious perspective on the “moe experience”. That interview felt like the heart of the book.

I wish there were more female-centric or outsider perspectives on moe. I see the point of view that moe culture can allow for an alternative for the trad-salaryman masculine expression - I can think of arguments that conflict with this, and some of them are present in the critical interviews near the end. The ties between sexuality and moe are kind of explored at the end with Tamaki’s interview but they should’ve discussed this in a lot more straightforward manner in the earlier interviews. Hiroki Azuma sounds kinda bitter in his interview - I share some of his sentiments but not in as extreme of capacity, ie. to the point where he figuratively (or maybe even literally) cries about Eden of the East not being noticed enough, it’s a pretty popular anime.

I’m rambling at this point, but even with some interesting interviews, the sentiment surrounding moe was sort of homogenous and Galbraith's questions sounded formulaic throughout the interviews in the first half. It was boring but it got better thanks to the conflicting viewpoints brought into light in the latter half.

6/10

[Electra Starkiller · Rating 4 out of 5]

Really interesting! A very flashy poppy presentation, packaging a collection of brief but high-quality interviews with just about everyone you would want to ask for for insight on otaku culture (well perhaps other than Anno Hideaki and Miyazaki Haiyao, he didn’t get either of them for an interview) - a who’s who of artists, industry executives, and academics. He caps it off with interviews with Azuma Hiroki and Saito Tamaki, who have respectively wrote the two most important Japanese-language scholarly works on otaku which have been published in English, Otaku Japan’s Database Animals and Beautiful Fighting Girl respectively.

Presents itself as an exploration of the concept of “moé” but has value beyond that as in introduction to the concept of otaku studies in general. Part of what intrigues me is that Galbraith basically says in the introduction that he is a die-hard fan of moé stuff, he’s like a hard core original-generation American anime fan. This doesn’t prevent him from being able to present a lot of interesting and varied perspectives about moé and otaku stuff, many of which are more critical. I feel like the true hard core anime fans often turn out to be a lot more well-adjusted than the archetypal hentai-brained weirdos that most people think of when they think of weebs.

This is definitely a light, introductory work, appropriate as light reading for a teenage anime fan. The other books I mentioned earlier, plus The Anime Machine by Thomas Lamar, are much meatier studies of anime and of otaku culture. I also hope to read more of Galbraith’s works!

[Hope · Rating 4 out of 5]

As someone deeply invested in the pop culture of Japan, there was simply no way I could dislike a book completely dedicated to the hardcore aspects of the "otaku" culture.

Patrick Galbraith has made it his duty to help fellow otaku better understand the moe phenomena that many of us implicitly feel.

The beginning of the book includes his own personal accounts of marching in the streets of The Electric Town in 2007. He gives readers a general overview of the culture and shares a few accounts from the States.

The actual meat of the book consists of various interviews with figures in the Otakusphere. Some of those interviewed include professional researchers like Soda Mitsuru, deep cuts in otaku culture with Toromi, well-renowned writers like Maeda Jun, and my favorite, the controversial otaku activist, Toru Honda.

It's not a particularly scholarly read. It's also not very well-structured in its presentation, and each chapter has very little to do with the last one. Honestly, it feels like it was sorted completely randomly. Not even the aforementioned figureheads were grouped according to their roles in understanding moe.

Even then, there is an absurd wealth of knowledge for enthusiasts like myself. Digging into the interviews to read various opinions on the idea was a treat. A book for fans made by fans. I like it.

[Colin Armistead · Rating 4 out of 5]

a really interesting read full of many people with insightful, sometimes differing, opinions. while I did really enjoy this I think it's one fatal error is never addressing the sexual element of men's interest in a lot of moé type characters. For a very clear example there is a section where Galbraith interviews the artist POP, most known for his designs for the series Moetan. POP says that he wishes to make art that everyone can enjoy, even grandparents reading to their grandchildren.. and then you turn the page and one of the drawings (from the Moetan series) is of a very young girl in a very inappropriate outfit, with this not even being the most suggestive art from the Moetan franchise. Constantly Galbraith asks his interviewees why do they think moé focuses so much on the youthful but never does he push his questions far enough to get to the clearly very sexual element of a lot of this work for many of the people who engage with it.

[qiryp · Rating 5 out of 5]

Outsiders who look in, or rather down, will not be able to tie a thread through the various perspectives - which conflict often and radically as the broader moe discourse does. No clean answer can be given, no singular perspective can be prioritized, because moe exists at a point of tension between as many people as there are otaku, as many interests as there are classes. The word "moe" is dead - killed by corporate interests and marketing, contempt and mockery - as the idea lives on for _you_ to define, as your place in the world exists for you to decide.

All said, some level of attachment to "moe characters" and some basic familiarity with the history are recommended. While I did not agree with all the interviewees, they all had interesting and meaningful things to say; they helped me solidify my understanding of my experience consuming otaku culture and my sociopolitical place in relation to it and broader society. In that, it has succeeded as a manifesto.

[WAIA · Rating 3 out of 5]

My lover was reading through this book while doing research and I got curious. I always knew of this book in the back of my mind, but I still never gave it a read. I concluded to jump in.

Its not really a moe "manifesto", but I appreciated the different perspectives this book puts together on the matters of "moe" and "otaku". A lot of this did cover a lot of ground I already knew about. Especially the latter interviews with Ito Go, Azuma Hiroki and Saito Tamaki were worthwhile for me.

Especially Saito Tamaki. I might read his book "Beautiful fighter girl" in the future. I hadn't thought about using lacanian theory of desire on how Moe functions but it was smart and does really work in pointing out why otaku split fiction and reality so clearly..

cool stuff.

[Belle Ancunin · Rating 4 out of 5]

This book fell on my head when I was at the library getting something else and the cover and title intrigued me so much that I decided to check it out anyways.

I agree with the other interviews that it sucks that there's no overarching analysis from the author, it really is just a collection of interviews from a range of different people from different backgrounds - not just authors and artists but psychologists and economists giving a commentary on the concept of Moe.

But god damn these interviews are so intriguing that I can't give it less than four stars. Learning that Gundam was a pro-palestine work? Chibi Afghanistan??

I have learned so much.

[Youkeepliving]

deeply engrossing set of interviews across a whole host of experts. it changed completely how i view otaku culture. the book never sets a concrete explanation of the word “moe” leaving it up to you to pick the one that spoke to you most. this books biggest flaw is most every other book it cites is seemingly untranslated leaving its reader buzzing with questions and topics but sadly few jumping on points. not a bad problem to have. worth the afternoon it takes to read

[Katja · Rating 3 out of 5]

There are some interesting tidbits on Japanese culture and aspect of moe in this book but it doesn't offer deep analysis or anything like that. There are a lot of pictures which gives nice visual context to things the interviews talk about.
I don't know why they decided to write moe as "moé", it bothered me a lot.

[Galatea · Rating 5 out of 5]

A pretty good collection of interviews from producers of otaku culture, people who are otaku themselves, and those who have studied or researched the topic of moé and/or otaku at a professional level.

Edited and written in a clear, concise style and very well put together. Lots of stuff I took away from this that I can use in my own work, which I'm grateful for

[h.m.]

huge respect to galbraith for letting his interviewees do all the talking without much guiding or interjection. an invaluable english language resource into a subculture where the majority of other english language discussions on the subject boil down to reacting *to* the subculture, not from within it.

[Ben · Rating 3 out of 5]

Mostly fluff besides the Saito Tamaki and Azuma Hiroki interviews, but it was helpful for an 'outsider' like me who watched Your Name like two years ago and otherwise finds 'otaku' alien. Important but mostly only alluded to threads: desire and sexuality, self and other. Cool intro... but not a very good "manifesto"!

[Pumpkin Spice Retrograde · Rating 4 out of 5]

I enjoyed this book. I had no idea Miyazaki was an otaku! A shame he's dead. This book is a little dated, which is fine with me but won't appeal to those looking for the latest take.

It didn't point out how moe is seen as sexy. Perhaps they wanted to avoid touchy subjects. It did mention how men are into these cutesy innocent characters.

[Seul · Rating 4 out of 5]

Very interesting book that seemed to have gone off topic but I deeply enjoyed this book. I was generally surprised by who they interviewed and what each one had to say. I learned a lot about the anime/manga industry and the history of the mediums. Very good book for otakus and anti-otakus.