Sharon Kinsella's talk on Otokonoko/Josou Danshi is truly captivating as it sheds light on the evolving perception of men dressing up in girls' clothes. One noteworthy aspect she highlighted is the significant shift in the motivations behind this practice. In the early 2000s, particularly in places like Shinjuku Nichoume, men donning feminine attire were often associated with sexual purposes.
However, Kinsella intriguingly pointed out that today, the landscape has transformed, and dressing up has become more of a hobby rather than solely for sexual gratification. The motivation behind engaging in this activity has diversified, and it is no longer limited to individuals who identify as gay. Men who dress up in girls' clothes now encompass a broader spectrum of sexual orientations and identities.
As a long-time fan of anime, manga, and games (ACG), I have come across Otokonoko-themed content, particularly in BL manga, games, and anime. What I find intriguing is that these Otokonoko characters tend to be immensely popular among both male and female audiences. Sharon's talk further reinforced this observation, highlighting the fact that in games like Fate/Grand Order (FGO), the character most favoured by players is often one whose gender is not immediately apparent.
This phenomenon raises an interesting question: Does the ACG world prioritize the cuteness and appeal of a character over their actual gender when it comes to audience preference? This notion challenges the assumption that the primary audience for ACG, particularly gaming, consists mainly of heterosexual men whose preferences would align with traditional gender roles.
Sharon's talk sheds light on this by suggesting that in the ACG realm, there may be a distinct separation between the real world and the 2D world. In this 2D world, individuals may find a sense of escapism and a reduced desire for traditional real-world relationships. As a result, the attractiveness and cuteness of a character take precedence over their gender or sexual orientation. This observation demonstrates the fluidity and acceptance of diverse character representations within the ACG community and highlights the fandom's evolving nature and the growing appreciation for characters that transcend conventional gender norms.
Sharon's talk provided an interesting insight into the growing popularity of Otokonoko not only in Japan but also in China. I recall the trend of Otokonoko, or "Weiniang" as it is known in China, being highly popular on platforms like Bilibili, the Chinese equivalent of Niconico, during the 2010s. However, in recent years, there has been a noticeable shift in the Chinese government's stance on male celebrities and public figures dressing or behaving more femininely. They have imposed restrictions, essentially banning such expressions, sending a clear message that this style of dress or behaviour is no longer deemed acceptable.
This shift in government regulations has had an impact on Chinese audiences and their perception of Otokonoko and related expressions of gender fluidity. Some members of the Chinese audience have begun to feel a sense of disgust or shame towards men who dress in feminine attire, as it conflicts with the changing societal norms and the messages conveyed by the government. Similarly, women face challenges as they are often judged for not conforming to traditional notions of femininity.
The contrasting experiences of the Otokonoko trend in Japan and its recent challenges in China demonstrate the ongoing struggle for acceptance and the need to foster understanding and inclusivity in diverse cultural contexts.
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