The potential of anime for destination marketing: fantasies, otaku, and the kidult segment

Abstract

While a substantial body of literature exists on film tourism, there is a lack of research attention bridging the potential of Japanese anime on real-world destination marketing. The implications of anime tourism can extend far beyond geographic boundary as the worldwide anime market is diversifying, providing novel opportunities for destination marketing organisations (DMOs) in other countries. To address this research gap, this paper first defines anime versus animated-films to clarify the definition of anime for the tourism literature, and then draws out theoretical differences between the two types of entertainment within a cinematic perspective to highlight their conceptual boundaries across place, protagonist, and production. This paper suggests that the ways in which these three aspects are manifested in anime versus films are very different: anime settings are more fantasy-orientated than most films; viewers develop their self-identity (i.e., as an 'otaku') during childhood and adolescence; and anime productions can be extended with new series to create more enduring engagement to develop the kidult segment. This paper contributes to the literature by connecting the aforementioned cinematic aspects as a basis for elaboration of how differences among the three dimensions could be directly related to potential destination marketing activities.

Scale development and validation of anime tourism motivations

“…Typical anime tourism activities include anime museum visitation (Denison, 2010), anime convention and festival attendance (Tung et al, 2019), and anime pilgrimage, which is defined as visiting sites depicted in anime (Okamoto, 2015;Seaton & Yamamura, 2015;Yamamura, 2015).…”

“…Disney, Pixar, DreamWorks films) regarding the production creation, budget, style, running time, market media, and audience market value (Tung et al, 2019). Along with comics and video games, anime generates the ACG (anime, comics, and games) subculture and has created significant influence globally (McGray, 2002;Tung et al, 2019). With the influence of anime spreading into the tourism industry, anime tourism has emerged as a niche tourism market.…”

“…Anime tourism is defined as visitation to sites depicted via or associated with anime or manga (Tung et al, 2019). Along with other forms of tourism induced by media products (e.g.…”

“…film, TV, literature), anime tourism is a type of media-induced tourism (Beeton et al, 2016). However, unique attributes of anime tourism such as fan art coproduction, cosplay (to dress up like fictional characters) activities, regular anime/comic conventions attendance, and active online/offline interactions suggest potential dissimilarities between anime tourism and film-induced tourism (Andrews, 2014;Okamoto, 2015;Tung et al, 2019).…”

“…However, anime tourism has received limited attention in tourism research Tung et al, 2019). The existing literature on anime tourists focuses more on their communication and behavioural patterns (Andrews, 2014;Okamoto, 2009Okamoto, , 2015Sabre, 2016) and is rather descriptive.…”