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I’m reading bits and pieces of Manda Ringo’s The Syotaroh and stumbled over some quite personal passages in “Manda Ringo’s shotacon discussion” (「まんだ林檎のショタコン談義」縮めてまん談) on page 102.
After lamenting how shota recently has become synonymous with the hardcore depictions seen in eromanga, as well as elaborating on shame and being judged by society, she goes on to comment on fantasy and reality:
When I see a boy in reality, I feel no sexual desire. Well, sometimes I want to hug them close from behind. But that only happens inside my head. Real boys aren’t that sweet.
Ringo’s view on real shota is almost identical to that of some of my research participants.
She goes on to explain why she thinks she became a shotacon:
I really wanted to become a boy. I went all in and lived that gender role. But as I grew up, my body became curvy and I became a girl. Up till middle school I almost never wore a skirt. Only shorts (半ズボン). But that started to look awkward after a while. At age 14 I had to accept that it was no good. So until 14, I was basically a boy. Of course, I didn’t consciously think of it like that, but when I have looked back later and thought about it, that’s how it was. How we think about the boy as a concept is probably influenced by such things.
Ringo-san adds that this is why her own shota interest is directed towards boys in middle school, despite shota as such can mean boys in a rather wide age span. I also think that the sometimes traumatic events that occur around puberty heavily influence what kind of shota we come to like as adults.
What do you think? どうしてショタコンになったのか？
This is an English summary of the second through fourth chapters of ショタコンのゆりかご (shotacon no yurikago = “the cradle of shotacon”) by shota researcher Budōuri Kusuko, published as a dōjinshi in 2007. Budōuri-san stresses that his essay only concerns commercial shota publications, not dōjinshi.
In the beginning, shortly after the term’s inception in 1981, “shotacon” referred to all kinds of boys, from 2D anime characters to 3D child actors.
The latter half of the 1980s saw the birth of exclusive shota anthologies. Following the boom of derivative yaoi works based on Captain Tsubasa, the first shota anthology つばさ百貨店 (Tsubasa Hyakkaten = “Tsubasa department store”) was launched in January 1987.
This kind of anthology contained various dōjinshi that had been selected to be published commercially. Several dōjinshi anthologies based on Captain Tsubasa, Saint Seiya, and Legendary Armor Samurai Troopers (Ronin Warriors) followed. They were soon joined by the characters from Mashin Eiyūden Wataru and Madō King Granzort, the former of which was pivotal for the shota genre’s breakthrough, as we have seen before:
Dōjinshi anthologies were followed by original anthologies, for which authors contributed original comics based on a certain theme. The anthology b-Boy 特集 ショタコン (b-boy tokushū shotacon = “special issue shotacon”) from October 1994 was important, since it was the first time the word “shotacon” appeared as a designation of the content on the cover.
Judging from the reader letters, Budōuri-san notes that there seems to have been little consensus at the time on what shotacon really meant.
In the 1991 edition of the annually published terminology dictionary 現代用語の基礎知識 (gendaiyōgo no kisochishiki ≈ “basic knowledge of contemporary terms”), shotacon was listed under yaoi, and described thusly:
ロリコンに対抗する少女たちの『少年趣味』をショタコン(正太郎コンプレックス)と、かつて呼んでいたが
The “boy hobby” of girls corresponding to lolicon is called shotacon (Shotarō complex)
In April 1995, TIP TAP became the first anthology series that focused entirely on shotacon. It was published by Eikō Publishing and had the subtitle “ショタコン ONLY アンソロジー” (“shotacon ONLY anthology”). Although TIP TAP was discontinued after the third issue, the boom of shotacon anthologies that followed would have been impossible without it, Budōuri-san writes.
It seems to me that Budōuri-san mourns what TIP TAP could have become. He notes that it seems to have been planned as a book-like magazine with serialisations, readers’ corner, and the like. My thoughts wander to Shōnen Jump. What if TIP TAP had become a Shotacon Jump that lived on, year after year, as the go-to authority of shotacon expression? Instead, we got a scattered stream of one-shots from publishers hoping to make a buck on the new genre, like a gold rush, or in this case: A boy rush. Which eventually faded, as we shall see.
Several “shotacon only” publications were founded by major publishing companies in the wake of TIP TAP’s 1994 launch:
Other publications didn’t mention “shotacon” explicitly, but experimented in the new genre in a way that Budōuri-san aptly calls “trial and error”. An example would be U.C.Boys from the major adult publisher Akane Shinsha, which claimed to be “a book with boys, by boys, for boys” (“男の子による男の子のための男の子本”).
Published over three and a half years, ROMEO was the most long-lived of the new magazines. It had a bustling reader section.
Budōuri-san next turns to Manda Ringo’s unique book The Syotaroh from 1996, where he notes a divide between male and female shota fans in how they think about shota and sexuality. He also notes what I understand as an unreflected optimism from Ringo’s side, which in retrospect turned out to be unfounded. (I think this is true also for Watanabe Yumiko’s essay ショタの研究 – shota no kenkyū = “shota research” – from 1998. It is telling that both texts were published in the latter half of the 1990s, right in the middle of the commercial shota boom.)
A new law on child pornography was passed in 1999. I’m trying to understand from the text if there was a relation to the publication Pet‐BOY’s, with the English log line “SHOTA‐COM COMIC ANTHOLOGY”, which was launched in October 1997 and became something of a sensation with its explicit adult expressions. In any case, by the end of 1999, most commercial shota anthologies had ceased publication.
Following the mass death of shota publications in 1999, there was a black hole of nothingness for about two years, at least in regards of commercial and exclusive shota publications. During this time, shota expressions lived on in subsections of other magazines.
In 2002, the next shota wave was initiated with the publication of ショタコミ (shotacomi) by Shobunkan. The editors stated clearly the purpose of the magazine:
We launched Shotacomi to revive the shota comic magazine.
Other shota titles followed in 2003, which unlike Shotacomi had the “adult comic” mark:
It seems Shotacomi split into 少年愛の美学 and 妄想少年 (mōsō-shōnen ≈ “boy delusion” or “delusional boys” – I discuss the term mōsō here). Budōuri-san notes that these publications seem more aware of their controversial content, as both state that no character is underage.
Shobunkan played an important role in the new wave of shota publications, not least when they started publishing books whose existence was not dependent on an “adult comics” mark (unlike magazines?). This trend, which other publishers soon followed, started with ショタコミ Collection (shotacomi collection).
Non-sexual (or less sexual) BL anthologies evaded the “adult comic” mark. One example is X kids, published by Kasakura from 1998 to 2005.
As shotacon became a more well known phenomenon, the definition in 現代用語の基礎知識 explanded over the years. Whereas the 1997 version equaled a shotacon with “a woman interested only in boys, as well as such a hobby”, the 2000 edition had expanded the definition of shotacon to both sexes:
少年にしか興味を示さない人。そのような趣味。ショートアイズ・コ ンプレックスから。両目の間が近い子どもを指す俗語。
A person interested only in boys, as well as such a hobby. From “short eyes complex”, a slang term denoting children with close-set eyes.
(So they got the etymology wrong, despite it was Comiket director Yonezawa Yoshihiro who was in charge for manga terms.)
Both 少年愛の美学 and 好色少年のススメ published their last issues in 2006. 少年嗜好 continued publishing but has gradually become more focused on 女装 (josō ≈ cross-dressing). The editor of 少年嗜好 is also involved in 男の娘HEAVEN (otoko-no-ko heaven), which is focused on the cross-dressing shota genre otoko-no-ko.
Budōuri-san concludes that commercial shota expressions keep changing, maybe as a way to adapt and survive on a market where the readers’ taste differ widely. The first and the second shota wave differed in that regard, and dōjinshi have kept widening the readerbase since 2002.
So in conclusion, Budōuri-san has documented two waves of commercial shota magazines, from 1994 to 1999, and from 2002 to 2006. Since the chapters were written in 2006 and 2007, the natural question is what has happened on the shota market since then.
In ショタコンのゆりかご (shotacon no yurikago = “the cradle of shotacon”), shota expert Budōuri Kusuko (interviewed in 腐男子にきく) traces the origins of the manga genre shotacon. His focus is commercial shota magazines rather than dōjinshi.
The essay begins with a richly referenced study (first published in October 2006) into the etymology of the word shotacon, which partly relies on Watanabe Yumiko’s essay ショタの研究 (shota no kenkyū = “shota research”).
The second chapter describes “the development of shota expressions” in the 1990s, and the third chapter documents a temporary decline in the genre in the late 1990s.
The fourth and last chapter (first published in September 2007) is devoted to the development of commercial shota publications in the first years of this millennium (up until when Budōuri-san wrote his essay).
ショタコンのゆりかご is an excellent resource that provides important historical data to shota research.
A 10 page appendix with data on shota titles accompanies this essay.
An English summary of Budōuri’s findings can be found here:
A scene in ヤンキーショタとオタクおねえさん (yankī-shota to otaku-onēsan ≈ yankee boy and otaku girl) by 星海 ユミ (Hoshimi Yumi) beautifully captures the sensitive subject of “real shota”.
The story centers around a fujoshi who a month earlier was befriended by the 11-year-old boy next door, Aikawa-kun. In the book’s first scene, Aikawa-kun insists on following the woman to a dōjinshi event (which turns out to be for BL manga) and sort of makes a fool of himself and her, so they leave immediately. In the subway on their way back the woman laments that she didn’t buy a single book because of the stupid boy. But looking at the beautiful sleeping boy next to her, it suddenly dawns on her: “This is my chance to touch a real shota!” (Devil horns!)
The moment is broken when their stop is announced: “We will soon arrive at Tanizaki station.” (Obviously a reference to the Japanese author 谷崎潤一郎/Tanizaki Jun’ichirō, whose books presented “a shocking world of sexuality and destructive erotic obsessions” according to Wikipedia.)
The woman gets up with the boy and says to herself: “That was close … what the hell was I doing!!!” And: “If this came out, I would be dead …”
I really liked how the manga brought up a theme that certainly occupies the mind of many shotacon. It is of special interest to me, since my research is focused on how we think about 2D and 3D realities.
A full review of this amusing series will follow!
It was during one of those late-night manga hauls at Book-off that I came across a genre which I first thought was BL, but which turned out to be “yankee” (ヤンキー), or “bad boy” (不良/furyō) manga.
The series that caught my eyes was Akira No.2 (アキラNo.2) by Okujima Hiromasa (奥嶋ひろまさ) – and you’ll have to excuse me for thinking BL:
Yankee manga is about “delinquent boys”, or 不良行為少年/furyō kōi shōnen, which according to Wikipedia is the level below actual “juvenile criminals” (虞犯少年/guhan shōnen). Rather than criminals, delinquent boys are those who roam the streets at night, who drink and smoke, and who threaten the morality of society (and themselves) in general. And yes, there are furyōshōjo too (delinquent girls).
I can understand how this genre can be enticing in Japan, where that kind of personality is not very common, at least not compared to the West, where it is rather the norm for teenagers to be a bit delinquent. That’s why it’s called “yankee”, I was told, as in boys behaving in an “American” way. (I also thought that the magazine Young King, which publishes this kind of comics, had something to do with the term, but both “young” is a common word in magazine titles.)
I found this ranking of the 14 best yankee manga, and realised that I also bought two volumes of Nanba MG5 (ナンバMG5) by Ozawa Toshio (小沢としお) that night at Book-off:
I think this genre is not even boys’ manga, but rather seinen because of the violent content. But the blunt display of skin and muscles make it transcend into BL territory, and almost the shota variety called kinshota, or muscle shota. The hard masculinity of the characters also plays into a certain kind of shota taste, one distinct from the mainstream focus on cuteness. This is more Yabuki Joe than Ikusabe Wataru, if you know what I mean.
While browsing Amazon, I came across Dōsei yankī Akamatsu Sebun (同棲ヤンキー赤松セブン ≈ “cohabitation yankee Akamatsu seven”), which is written by SHOOWA and illustrated by Akira No.2 mangaka Okujima Hiromasa (奥嶋ひろまさ):
This seems like a yankee/BL cross-over, with the kanji reading for “co-habitation” (dōsei/どうせい = 同棲) being the same as that for “same sex” or “gay” (dōsei/どうせい = 同性). The fact that it is drawn by the Akira No.2 author sort of acknowledges the sexual aspect of yankee manga.
Then I came across a series called Yankī-shota to otaku-onēsan (ヤンキーショタとオタクおねえさん) by Hoshimi Yumi (星海ユミ), or “Yankee boy and otaku big sister”:
This boy is obviously younger, hence “shota”, but the manga doesn’t seem to be yankee per se, and not shota either for that matter, but rather trying to tap into the popularity of those genres, and of otaku culture in general, as a kind of smart and funny meta commentary. I just know that I love the cover!
I’ve also watched the first OVA of yankee anime Chameleon (カメレオン), which was quite fun.
What do you think about yankee manga?　
In The Syotaroh (1996) Manda Ringo surveyed almost a hundred shota fans (63 women, 18 men, 1 okama) about their favourite age for a shota character. The respondents were mainly in their late teens and early twenties.
As you can see in the graph, there was a clear preference for age 12, followed by 13, with a certain span between 10 and 14, whereas popularity drops at 15 and 16.
The ages were calculated from the age span chosen by the respondent: If someone checked 13–15, then age 14 was used in the graph. If the user checked 12–13, age 12 was used if they also chose elementary schooler, but age 13 if they chose middle schooler. The preferred ages ranged from 3 to 30, with a median of 16.
This corresponds well with the results of my own interviews, which are partly published in Shota Ripōto 1. The age spans 10–14 (仁さん/Jin-san), 9–15 (大地くん/Daichi-kun), and 11–13 (タケルさん/Takeru-san) all center on 12, whereas 勇太さん/Yuuta-san (10–15) goes halfway up to 13 and an anonymous 27-year-old man centers on 13 (10–16). シンジさん/Shinji-san centers on 14 (12–16).
What’s your favourite age of shota boys?
Filed Under: Research Tagged With: Manda Ringo, まんだ林檎
An essay on the origins of shota, published as a dōjinshi.
An anthology on “otakuology” that contains Watanabe Yumiko’s important shota study.
An interview study on male fans of BL and yaoi, published as a dōjinshi.
An impressive work on the early shota subculture.
One of the main resources on adult manga.
The first part of an interview study of shota fans.
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