Oshi Economy

■ Oshi Economy

"Oshi Economy" by Juno Nakayama explores how the act of supporting one's favorite idols, artists, and characters—known as "Oshi activities"—has created a dynamic economic sphere.

Fans purchase multiple items of merchandise and works related to their beloved personalities or characters. They attend performances and concerts. They dance. They cheer. Spending their last dime and their time, this consumption and expression becomes their passion and purpose.

"Oshi activities" have transcended gender and age, even being nominated for the New Words and Buzzwords Award in 2021.

The term "Otaku" has been recognized since the 1980s and often carried a negative connotation of introversion. The word "moe," which became popular in the 1990s to express affection for idols and characters, is also introspective.

However, the 2000s saw a new wave of fans who are active and extroverted, dedicating their lives to their oshi with pride.

Oshi activities are driven by digital interactions. While engaging with content, participants also express themselves to others using smartphones, blogs, and social media. This marks a departure from the fan culture of the Showa and Heisei eras. It's not about monopolizing one's favorite things but about encouraging and inviting widespread empathy and sharing.

Fan groups are not rivals but allies. They appreciate their interests actively and share their experiences both in reality and digitally.

This trend could not only redefine future entertainment consumption but also evolve into a significant lifestyle layer.

The battlefront for content has moved to online consumption, alongside the expansion of live experiential businesses. Moreover, the merchandising of content is a significant business, with anime’s derivative business sometimes generating more than twenty times the production costs.

For artists and writers elevated by their fans, the content itself is important, but so is interaction with fans. Enhancing community engagement and shaping the brand are the business’s backbone.

In the U.S., the content industry has consolidated into major groups like Disney and Warner. Chinese capital, like Tencent, is also making global strides, posing a challenge for Japanese firms.

However, in the fields of anime and gaming, Japan possesses a rich array of internationally competitive characters. Utilizing these assets, Japanese companies could potentially craft strategies that deeply engage fans.

South Korea serves as a model. K-POP has solidified its standing in the West. Films and dramas like "Parasite" and "Itaewon Class" have surpassed Japan’s international visibility, a testament to a concerted intellectual property strategy driven by both government and private sectors.

Particularly, the fan strategy of "BTS" is well-known. They've not only won fans in English-speaking countries through SNS but also maintained a friendly, bidirectional communication.

The lockdowns during the coronavirus pandemic increased digital content consumption.

The fervor for live events is rebounding.

Communities buzzing with vibrant interactions centered on their Oshi are forming.

A new galaxy of both digital and live entertainment is emerging.