![]() “You can desire something in the two-dimensional world that you don’t desire in the three-dimensional world. ![]() “Moe is quasi-love for a fictional character,” Saito says, echoing the definitions by other interviewees. Galbraith doesn’t delve far into the psychological motivation behind moe, even in the book’s final interview, with psychiatrist Tamaki Saito. Is it a sexual fetish? A Peter Pan complex? Or some other unfulfilled desire? But I read this book in hopes of gaining insight into what would make grown men - and many if not most otaku are such - obsess over cartoon girls. To me it is shorthand for moeru gomi (burnable trash). ![]() I confess that although I enjoy quality anime, I’m no fan of moe. Galbraith’s “The Moe Manifesto” is a collection of 19 interviews with manga and anime artists and producers that aims to better understand what motivates otaku. In geek-speak, it signifies the emotional attachment that otaku feel for their favorite characters. It’s from the Japanese verb moeru, meaning either to burst into bud or to burn, depending on the way it’s written. Galbraith has tried to decipher the semiotics by focusing on one keyword in the otaku lexicon: moe (for some reason written with a French accent over the “e” in his book, unlike “anime”).
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