The Moe Manifesto Will Change How You View 2D
A look at Patrick Galbraith’s book on “moe” anime culture
Otaku are obsessed with moe. They make their characters moe. They turn their inanimate objects moe. Some live and breathe moe. Patrick Galbraith investigates this moe phenomenon in his book The Moe Manifesto.
The Moe Manifesto is a fairly easy read, consisting mainly of 19 interviews from Japanese artists, cultural critics, professors, and voice actors. Some of them feature interviews with Key scenario writer Jun Maeda (Clannad, Kanon, Air) and character designer Noizi Ito (Shakugan no Shana, Haruhi Suzumiya). Each chapter is relatively short and offers different perspectives on the moe term, otaku fandom, and Akihabara through different theoretical lenses. Overall, The Moe Manifesto provides fascinating insight on the impact of moe and its influence upon Japanese culture. Here are 4 things I learned after reading this book:
Moe is More than “Cuteness”
Moe is so often associated with cute, bubbly anime characters some fans can’t shut up about. However, it doesn’t necessarily make up what “moe” is. According to interviewee Soda Mitsuru, this is a popular misconception, as moe is a feeling felt when we sympathize with the human aspects of a character rather than their appearance. Subtle moe elements are hidden and harder to find in works such as Gundam Seed, Noir, and even Mamoru Oshii films.
Moe Love is Complicated
Honda Toru — a cultural critic — explains to Galbraith that Japanese society emphasizes what he calls “love capitalism” in which relationships are heavily dependent on material consumption and what you can offer to your partner. He also explains that when male otaku can’t live up to those expectations or contribute to society, their chances of finding a mate are slim. Instead, they seek relationships on their own terms with fictional characters as a cheap alternative to a rather bleak reality of romance in Japan.
Moe has a Broad Definition
The most common definition of moe throughout the book is that it’s a response or feeling to a certain character. Each person has different ways of defining it. In this case, Western views on moe vastly differs in contrast to the Japanese mainly because of cultural differences. Japanese viewers might connect to moe characters more personally that American viewer who might just brush it off as it “cutesy stuff.” Radical groups such as Akihabara’s Revolutionary Moe Advocates Alliance define moe further by rejecting the “3D world” and politicizing it as a stand against Japanese norms of romantic relationships.
“[Moe] is a Reason to live.”
In an interview with Otaku USA, Patrick Galbraith said that the most surprising response to come from all his interviews was from Jun Maeda, who cited moe as a reason to live. It’s an extreme conclusion, but an understandable one at best. Maeda explains that moe remedies insecurities of everyday life and gives everyone a sense of worth and direction in a world where people struggle to coexist.
To sum up, we all have some form of moe within ourselves. We have all become attached to characters at some point in time because we see a part of ourselves in them. We cheer for the heroes and boo for the villains. We cry at happy endings and sad tragedies. Attachment is what makes us human. Moe is what makes us human.
There are plenty more things to be explored about moe, so pick up the book to find out more. You can find The Moe Manifesto at your nearest bookstore on order it online at Amazon.com
William Moo is a freelance writer and video content producer. He is a regular contributor for the website Yatta Tachi. You can follow him @thewriterSITB and on YouTube.
