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{{Use dmy dates|date=September 2024}}
'''Database consumption''' ({{Lang-ja|データベース消費|translit=dētabēsu shōhi}}) refers to a way of content [[Consumption (sociology)|consumption]] in which people do not [[Narrative consumption|consume a narrative]] itself, but rather consume the constituent elements of the narrative.<ref>{{Cite book |author=[[Hiroki Azuma|東浩紀]] |script-title=ja:ゲーム的リアリズムの誕生~動物化するポストモダン2 |trans-title=Birth of game-like realism: Japan's Database Animals II |publisher=[[Kodansha|講談社]] |year=2007 |isbn=978-4061498839 |language=ja}}</ref>{{rp|240}} The concept was coined by the Japanese critic [[Hiroki Azuma]] in the early 2000s.

== Overview ==
The background to Azuma's presentation of this theory is the concept of [[narrative consumption]] by the critic and writer [[Eiji Ōtsuka]].

In his ''A Theory of Narrative Consumption'', Ōtsuka cites franchises like ''[[Bikkuriman]]'' stickers and ''[[Sylvanian Families]]'' as examples, pointing out that people are not consuming the items but the "[[grand narratives]]" ({{Lang-ja|大きな物語|lit=big story|label=none}}, [[worldview]]s and [[Setting (narrative)|setting]]) behind them. He called the paradigm of consumption mainly found since  the 1980s "[[narrative consumption]]". It is also referred to as "worldview consumption" ({{Lang|ja|世界観消費}}) to avoid the ambiguity of "narrative" which specifically means "grand narrative (worldview and setting)" in this theory.<ref>{{Cite book |author=[[大樹連司|前島賢]] |script-title=ja:セカイ系とは何か ポスト・エヴァのオタク史 |trans-title=What is Sekai-kei: A post-Eva otaku history |publisher=[[ソフトバンククリエイティブ]] |year=2010 |isbn=978-4797357165 |pages=111–112 |language=ja}}</ref>{{NoteTag|Sonoko Azuma used the term "worldview consumption" to describe a specific type of narrative consumption that involves imaging a worldview as a "grand narrative".<ref>{{Cite book|author=[[東園子]] |script-chapter=ja:妄想の共同体——「やおい」コミュニティにおける恋愛コードの機能 |trans-chapter=A delusive community: the function of love codes in the "yaoi" community |script-title=ja:思想地図〈vol.5〉特集・社会の批評 |trans-title=Thought map Vol.5 Special feature: Social criticism |publisher=日本放送出版協会 |year=2010 |page=252 |isbn=978-4140093481}}</ref>}}

Based on Ōtsuka's work, Azuma replaces "grand narrative (worldview and setting)" in the theory of narrative consumption with "grand non-narrative (stacks of information)" ({{Lang|ja|大きな非物語（情報の集積）}}) and use the term "database consumption" to describe the new paradigm of consuming a huge "database" shared within a community. This form of consumption is particularly prominent in Japanese [[otaku]] culture since the late 1990s .

The new consumption paradigm is closely related to the advent of [[postmodernism]]. In essence, otaku culture and the postmodern condition are thought to have the following points in common: 1) As stated by [[Jean Baudrillard]], it is no longer possible to distinguish between the original and the simulated, and thereby the in-between [[Simulacrum|simulacra]] prevail in [[hyperreality]], which parallels the difficulty to distinguish [[derivative work]]s and [[media mix]] from the original works in otaku culture; 2) [[Jean-François Lyotard]] defined postmodernism as the decline of [[Metanarrative|grand narratives]] (norms shared by society as a whole) and the emergence of many localized, little narratives (norms shared only within small communities), which corresponds to otaku culture's unique value norm that the fictional world rather than the real world is paid more attention to.<ref name="Database Animals">{{Cite book |author=[[Hiroki Azuma|東浩紀]] |script-title=ja:動物化するポストモダン オタクから見た日本社会 |trans-title=Otaku: Japan's Database Animals |publisher=講談社 |year=2001 |isbn=9784061495753 |language=ja}}</ref>{{rp|40-47}}

While narrative consumption could be seen as fabricating pseudo-"grand narratives" with worldviews behind works to compensate for the lost grand narrative (partial postmodernism), in database consumption, however, even fabrication is abandoned (full postmodernism).<ref name="Database Animals"/>{{rp|131}} Therefore, in (full) postmodern otaku culture, by accessing the database (stacks of information) that varies depending on personal interpretations, various settings are extracted by different people to create different original and derivative works (indistinguishable between originals and copies).

In [[Jacques Lacan|Lacanian]] terminology, "grand narrative" could be seen as "[[the Symbolic]]", "little narrative" as "[[The Imaginary (psychoanalysis)|the Imaginary]]", and the "database" as "[[the Real]]".<ref>{{Cite book |author1=東浩紀 |script-title=ja:批評の精神分析 東浩紀コレクションD |trans-title=Critical psychoanalysis: Hiroki Azuma Collection D |author2=[[大澤真幸]] |publisher=講談社 |year=2007年 |isbn=978-4062836296 |page=65 |script-chapter=ja:虚構から動物へ |trans-chapter=From fiction to animals}}</ref> However, [[psychiatrist]] [[Tamaki Saito]], while acknowledging such correspondence is understandable as a metaphor, believes the equivalent to the database should be more appropriately the Symbolic, stating that it is the autonomous Symbolic that promotes the "genesis of characters".<ref>{{Cite book |author=[[Tamaki Saito|斎藤環]] |script-title=ja:キャラクター精神分析 マンガ・文学・日本人 |trans-title=Character psychoanalysis: Manga, literature and Japanese people |publisher=[[Chikuma Shobō|筑摩書房]] |year=2011年 |isbn=978-4480842954 |pages=214–215}}</ref> The "database turn" of the world can be considered a manifestation of postmodernization in the cultural aspect (shift towards database consumption), [[globalization]] in the economic aspect, and the digitalization in the technological aspect.<ref>「動物化するオタク系文化」『網状言論F改—ポストモダン・オタク・セクシュアリティ 』28頁。</ref>

Azuma did not mention which type of database is involved in database consumption. [[Informatics engineering]] expert Naohiko Yamaguchi<ref>{{Cite book |author=山口 |script-chapter=ja:情報工学とライトノベル |trans-chapter=Informatics engineering and light novels |script-title=ja:ライトノベル研究序説 |trans-title=An introduction to light novel study |publisher=[[青弓社]] |year=2009 |page=207 |isbn=978-4787291882}}</ref> and [[Art criticism|art critic]] Takemi Kuresawa<ref>{{Cite book |author=[[暮沢剛巳]] |script-title=ja:キャラクター文化入門 |trans-title=An introduction to character culture |publisher=[[NTT Publishing|エヌ・ティ・ティ出版]] |year=2010 |pages=18–19 |isbn=978-4757142565}}</ref> believe the concept corresponds to a [[relational database]].

=== Otaku culture ===
[[File:Neko_Wikipe-tan.svg|right|thumb|200x200px|The image of [[wikipedia:Wikipe-tan|Wikipe-tan]] consists of visual signs (''moe''-elements) such as [[Catgirl|cat ears]], a [[French maid|maid outfit]] and a [[tail]].]]
As mentioned above, Azuma cites how Japanese otaku content has been consumed since the late 1990s as a major example of database consumption.

For example, the shift of fan consumption patterns from ''[[Mobile Suit Gundam]]'' (since 1979) to ''[[Neon Genesis Evangelion]]'' (since 1995) suggests a departure from narrative consumption.<ref name="Database Animals"/>{{rp|58–62}} In ''Gundam'', different series were set in the same fictitious history (Universal Century, etc.), and fans enthusiastically scrutinized that fictitious history (grand narrative). ''Evangelion'' fans, however, tend not to immerse themselves in the world of the work, but rather to devote themselves to ''[[doujinshi]]'' (self-published derivative works) that feature the heroines and [[model figure]]s of the mechanics in the series. Rather than the worldview, stacks of information (grand non-narrative) including characters and mechanics are demanded and consumed. According to Satoshi Maejima, a Japanese critic, despite many meaningful keywords (Human Instrumentality Project, S<sup>2</sup> Engine, etc.) that seem to hint at the worldview of the work (which fits the concept of narrative consumption) in the first half of ''Evangelion'', the work eventually came to an end without revealing the truth, and the audience was therefore forced to change their attitude of consuming the story.<ref>{{Cite book |author=[[大樹連司|前島賢]] |script-title=ja:セカイ系とは何か ポスト・エヴァのオタク史 |trans-title=What is Sekai-kei: A post-Eva otaku history |publisher=[[ソフトバンククリエイティブ]] |year=2010 |isbn=978-4797357165 |pages=106–107 |language=ja}}</ref> This change in consumption patterns that began in 1995 (the shift to so-called "character ''[[Moe (slang)|moe]]''") can be considered a shift from manufacturer-led to consumer-led, and the background was the consumer base shifted from otaku students of liberal arts (who prefer stories) to those of engineering (who prefers systems).<ref>東「立ちから萌えへ」『文学環境論集 東浩紀コレクションL』 講談社、2007年、222–223頁。ISBN 978-4062836210。</ref>

In 1998, [[Di Gi Charat]] characters were designed as [[Broccoli (company)|Broccoli]]'s image character ([[mascot]]) without a background story. Nonetheless, they surprisingly became a hit and were adapted into different [[media franchise]]s, including anime and video games, ultimately ending up having a background story. Characters in Di Gi Charat were designed by assembling ''moe'' elements like ''[[ahoge]]'' and bells, making them a good example of "''moe''-element database" consumption (Other examples of combinations of ''moe'' elements can be seen in mainstream culture. For example, the same argument can be applied to the costumes of the idol group [[Mini-Moni]].<ref>{{Cite book |last1=東 |last2=大塚 |script-title=ja:リアルのゆくえ──おたく/オタクはどう生きるか |trans-title=The future of reality: How do otaku live? |publisher=講談社 |year=2008|page=63 |language=ja |isbn=978-4062879576}}</ref>) In this way, otaku have developed a spinal reflex reaction to symbols of their favorite ''moe'' elements as though they are drug addicts. (Or, more generally, they only have self-contained desire-fulfillment circuits without mediating the desires of the others.) Hiroki Azuma borrows the expression of [[Alexandre Kojève]] and calls this development "animalization".{{NoteTag|The concept "animalization" is frequently compared to [[George Ritzer]]'s concept of [[McDonaldization]] (excessive emphasis on rationality and computability).<ref>{{Cite book |author=[[樫村愛子]] |script-title=ja:ネオリベラリズムの精神分析—なぜ伝統や文化が求められるのか |trans-title=Psychoanalysis of neoliberalism: Why are traditions and culture needed? |publisher=[[光文社]] |year=2007 |page=89 |isbn=978-4334034153}}</ref><ref>{{Cite book |author=[[岩木秀夫]] |script-title=ja:ゆとり教育から個性浪費社会へ |trans-title=From relaxed education to a society that wastes individuality |publisher=[[筑摩書房]] |year=2004 |pages=10–11, 200 |language=ja |isbn=978-4480061515}}</ref> It is also sometimes compared to [[Zolaism]].<ref>{{Cite book |last1=東 |last2=大塚 |script-title=ja:リアルのゆくえ──おたく/オタクはどう生きるか |trans-title=The future of reality: How do otaku live? |publisher=講談社 |year=2008|page=157 |language=ja |isbn=978-4062879576}}</ref>}}<ref name="Database Animals"/>{{rp|126}} In database consumption, characters like Di Gi Charat and [[Binchō-tan (manga)|Binchotan]] born without a story in the background may be given ones later on or become the subjects of derivative creations. Such human characters (typically young girls) designed as representations of non-humans can be called [[Moe anthropomorphism|''moe'' anthropomorphism]].<ref name="yaoi">{{Cite book|author=[[東園子]] |script-chapter=ja:妄想の共同体——「やおい」コミュニティにおける恋愛コードの機能 |trans-chapter=A delusive community: the function of love codes in the "yaoi" community |script-title=ja:思想地図〈vol.5〉特集・社会の批評 |trans-title=Thought map Vol.5 Special feature: Social criticism |publisher=日本放送出版協会 |year=2010 |page=253 |isbn=978-4140093481}}</ref>  [[Hatsune Miku]], the image character of a [[speech synthesis]] software package released in 2007, despite lacking a narrative, gained high popularity due to its unique characteristics and has since been widely used in various derivative creations.<ref>{{Cite book |author=[[濱野智史]] |script-title=ja:アーキテクチャの生態系——情報環境はいかに設計されてきたか |trans-title=Architecture ecosystem: How has the information environment been designed? |publisher=[[NTT Publishing|エヌ・ティ・ティ出版]] |year=2008 |pages=242–245 |isbn=978-4757102453 |language=ja}}</ref> Hiroki Azuma describes this as the "exact form of database consumption".<ref>東浩紀・伊藤剛・[[谷口文和]]・[[DJ TECHNORCH]]・濱野智史「初音ミクと未来の音 同人音楽・ニコ動・ボーカロイドの交点にあるもの」『[[ユリイカ (雑誌)|ユリイカ]]』2008年12月臨時増刊号、152頁。</ref> While Hatsune Miku's success was mainly based on the video-sharing platform [[Niconico]], the cyberspace of the website, which is filled with a plethora of MAD movies (videos made by splicing together anime clips; [[anime music video]]), is made possible as a result of the establishment of database consumption.<ref>{{Cite book|author=[[黒瀬陽平]] |script-chapter=ja:キャラクターが、見ている。——アニメ表現論序説 |trans-chapter=The character is watching. --An introduction to anime expression theory |script-title=ja:思想地図〈vol.1〉特集・日本 |trans-title=Thought map Vol.1 Special feature: Japan |publisher=日本放送出版協会 |year=2008 |page=444 |isbn=978-4140093405}}</ref>

[[Bishōjo game|''Bishōjo'' games]] that became popular in otaku culture after the late 1990s are also thought to reflect postmodern database consumption due to their structure.<ref name="Database Animals"/>{{rp|113-116}}{{NoteTag|The A.D.M.S. in ''[[YU-NO: A Girl Who Chants Love at the Bound of this World]]'' is an example of effective use of postmodernist philosophy.}}

In Japanese [[manga]] and [[anime]], as manga critic Kō Itō points out, there exists a phenomenon that characters maintain their identities even when removed from their original context and placed in a different environment (e.g., secondary creations).<ref>{{Cite book |last=伊藤 |script-title=ja:テヅカ・イズ・デッド ひらかれたマンガ表現論へ |trans-title=TEZUKA is Dead: Postmodernist and Modernist Approaches to Japanese Manga |publisher=[[NTT Publishing|NTT出版]] |year=2005 |page=54 |language=ja |isbn=978-4757141292}}</ref> He called the phenomenon "autonomization of characters" ({{Lang|ja|キャラクターの自律化}}){{NoteTag|Since Itō himself distinguishes between "characters" ({{Lang|ja|キャラクター}}) that have a presence within the story and "chara" ({{Lang|ja|キャラ}}) that are removed from the work, it could be called "autonomization of charas" ({{Lang|ja|キャラの自律化}}) in his words.}}. In a way, a "character database", not the narrative, has become the object of consumption. [[Light novel]]s, which have attracted attention since the early 2000s, encompass various genres including science fiction, fantasy, and [[detective fiction]], and are often considered difficult to define; However, by focusing on their crucial element–character design–we can use the keyword "database consumption" to define them as "novels written within the environment of a character database".<ref>『ゲーム的リアリズムの誕生』37–45頁。</ref>

In the latter half of the 2000s, works featuring "''moe''" characters with appealing charms and regressed narratives have gained increasing popularity, particularly triggered by the success of TV anime [[Lucky Star (manga)|''Lucky Star'']]. These works, commonly referred to as "[[slice of life]]" ({{Lang-ja|日常系|lit=daily genre|translit=nichijō-kei|label=none}}), are media content that precisely fits into the database consumption model.<ref>{{cite book |author=[[キネマ旬報]]映画総合研究所 |script-title=ja:"日常系アニメ"ヒットの法則 |trans-title=Rules for making "slice-of-life anime" a hit |publisher=キネマ旬報社 |year=2011 |page=90 |language=ja |isbn=978-4873763590}}</ref>

Shūji Nomaguchi mentioned that what is being done in the creation of ''[[isekai]]'' works ({{Lang-ja|なろう系|lit=let's-become genre|translit=narō-kei|label=none}}) that hit the same era of the 2010s corresponds to this. He believes the [[cliché]]d ''narō-kei'' story is part of what Azuma calls the "invisible database", and these works are created through accessing an intangible "''narō-kei'' database" and selecting elements to be used in their settings.<ref>{{Cite web |last=野間口修二 |author-link= |date= |script-title=ja:物語消費からデータベース消費へ |trans-title=From narrative consumption to database consumption |url=http://nomawebstudy.web.fc2.com/2017_3rd_data1.html |access-date=14 September 2020 |website=ウェブ表現研究講義用資料 |language=ja}}</ref>

In the world of [[contemporary art]], there are examples of incorporating elements of otaku culture into artworks such as those of [[Takashi Murakami]] and Chaos*Lounge. Murakami's works receive polarized responses: they are highly regarded in the contemporary art world, yet heavily criticized by otaku. This can be explained by how the database (substratum) and the simulacra (superstratum) are understood differently, according to Azuma.<ref name="Database Animals"/>{{rp|92–94}} Murakami employs the technique of purifying the designs (simulacra) that represent otaku culture and incorporates them into his works. But this is only appreciated in modern art criticism which sees the production of simulacra as "a weapon for constructing the [[avant-garde]]"; It cannot be understood by otaku whose consumption is based on a database of ''moe'' elements because that important database is missing. Chaos*Lounge, a contemporary art group, creates many works based on existing characters and also cites Azuma's theory of character ''moe'' and database consumption as their theoretical background to ensure criticality.<ref>あらい ひろゆき「[http://www.kinyobi.co.jp/kinyobinews/?p=424 萌えアートを斬る!]」週刊金曜日ニュース（2010年11月2日）</ref>

=== Non-otaku culture ===
Azuma argues that even outside of otaku culture, the behavior patterns of ''[[burusera]]'' girls and [[Enjo kōsai|compensated dating]] girls, who were the subject of sociologist [[Shinji Miyadai]]'s [[Field research|fieldwork]], are following a path of transition from narrative consumption to database consumption. He also points out that Miyadai's "synchronized communication" found in [[Street style|street youth]] shares similarities to otaku's animalization.

Some also linked techniques like [[Sampling (music)|sampling]] and [[remix]]ing used in [[music genre]]s like [[Hip hop (culture)|hip hop]] and [[techno-pop]] to the database consumption model. DJs collect and reconfigure musical elements that make up original songs as materials to create derivative creations, which is considered paralleling to secondary creations like ''[[doujinshi]]'' published by otaku; Some also compared between "anime eyes" who enjoy ''moe'' elements in visual symbols to "[[techno]] ears" who enjoy repetitive techno melodies.<ref>伊藤剛 「「テクノ耳」と「アニメ絵目」 テクノとアニメ絵に共通する身体的な快楽原理」『マンガは変わる—"マンガ語り"から"マンガ論"へ』 [[青土社]]、2007年、264–267頁。ISBN 978-4791763856。</ref> However, Satoshi Masuda, an expert in [[music theory]] and [[media studies]], points out that there are two differences in the database-like consumption of these cultures.<ref>{{Cite book|author=[[増田聡]] |script-chapter=ja:データベース、パクリ、初音ミク |trans-chapter=Database, Plagiarism, Hatsune Miku |script-title=ja:思想地図〈vol.1〉特集・日本 |trans-title=Thought map Vol.1 Special feature: Japan |publisher=日本放送出版協会 |year=2008 |pages=151–156 |isbn=978-4140093405}}</ref> First, in otaku culture, fan creations are based on the principle of the autonomy of characters, while in DJ culture, it is unlikely that musical elements can retain their meanings and be consumed alone while extracted from the original song. Second, in DJ culture, the reconstruction of musical elements is done at a superficial level (mechanical copying of data), but in otaku culture, fan creation activities often involve character settings absent from original works.{{NoteTag|That said, in otaku culture, fan creations may also involve mechanical copying such as MAD movies.<ref name="Database Animals"/>{{rp|120–121}}}} In addition, DJ culture in the 1990s typically consider songs' historical contexts while selecting music clips, making it temporal context-dependent, so some people believe there is a clear distinction between DJ culture and otaku's database consumption.<ref>菊池俊介・コメカ・橘たちっぱな・三輪裕也・宇野常寛「Perfumeと相対性理論を語れば09年の音楽を語ったことになるなんて思わないよ絶対」『PLANETS vol.6』2009年、121頁。</ref>

Hiroyuki Aihara, a picture book author, exemplifies database consumption with [[iPod]], blogs, and select stores (stores that sell selected items from different brands).<ref>{{Cite book |author=[[あいはらひろゆき|相原博之]]  |script-title=ja:キャラ化するニッポン |trans-title=Japan as a character |publisher=[[講談社]] |year=2007 |pages=141–143 |language=ja |isbn=978-4062879101}}</ref> When songs are recorded in an album, they exist within the unity of the album's worldview: but when individually downloaded to an iPod, re-organized, and listened to, the unity (grand narrative) collapses. Likewise, a blog is flat, lacking a hierarchical structure commonly found in conventional websites, and a select shop displays and sells products, ignoring the unity (grand narratives) of brands. On the Internet, in addition to blogs, "meme communication" ({{Lang|ja|ネタ的コミュニケーション}}){{NoteTag|A term coined by sociologist Kensuke Suzuki. It is a communication style commonly seen in posts on 2channel, where one references previous comments and reacts as if they are memes ({{Lang-ja|ネタ|tr=neta|label=none}}). Sociologist [[Akihiro Kitada]]'s definition of the "sociality of connections" ({{Lang|ja|つながりの社会性}}) has almost the same meaning.}} found on the online forum [[2channel]] is similar to database consumption in that [[Cut, copy, and paste|copy-paste]], ASCII art, etc. can be regarded as components of a database.<ref>{{Cite book |author=[[鈴木謙介]] |script-title=ja:暴走するインターネット—ネット社会に何が起きているか |trans-title=Rampaging internet: What is happening to the online society? |publisher=[[イーストプレス]] |year=2002 |page=216 |language=ja |isbn=978-4872573022}}</ref>

Takayuki Okai, who specializes in [[media studies]] and sociology, refers to Hiroki Azuma's argument and contrasts that [[professional wrestling]] fans are narrative-consuming, but [[mixed martial arts]] fans are database-consuming.<ref>[[岡井崇之]] 「"ナチュラル"ボディを手に入れる 総合格闘技ファンの身体・コミュニケーション」『それぞれのファン研究—I am a fan 』 [[風塵社]]、2007年、181頁。ISBN 978-4776300359。</ref>

There are also observations that the behavior of "characterizing" oneself, typically among young people in Japan, also refers to different types of characters that appear in [[pop culture]], as in the database consumption theory.

As for non-Japanese culture, examples include that professional performers in the American TV drama series [[Glee (TV series)|''glee'']] covering famous songs of previous American stars is database-consuming.<ref>宇野常寛ほか「今、音楽批評は何を語るべきか？」『PLANETS SPECIAL 2011 夏休みの終わりに』 第二次惑星開発委員会、2011年、140頁。ISBN 978-4905325024。</ref> In this case, the US differs from Japan in that songs rather than characters are the object of this type of consumption.<ref>{{cite book |author=宇野常寛 |script-chapter=ja:ゼロ年代の想像力、その後 |script-title=ja:ゼロ年代の想像力（文庫版） |trans-title=Imagination of the millennial |publisher=早川書房 |year=2011 |page=463 |isbn=978-4150310479}}</ref> Hiroki Azuma himself cites the situation in [[Hollywood movies]], where highly advanced [[visual effects]] are often paired with clichéd set patterns, as an example of database consumption outside of Japan.<ref>{{Cite book |last1=東 |last2=大塚 |script-title=ja:リアルのゆくえ──おたく/オタクはどう生きるか |trans-title=The future of reality: How do otaku live? |publisher=講談社 |year=2008|page=54 |language=ja |isbn=978-4062879576}}</ref>

=== Counterexamples ===
Sociologist [[Shinji Miyadai]]<ref>{{Cite book |author=[[Shinji Miyadai|宮台真司]] |script-title=ja:日本の難点 |trans-title=Japan's difficulties |publisher=[[Gentosha|幻冬舎]] |year=2009 |pages=23–24 |language=ja |isbn=978-4344981218}}</ref> and writer Hiroyuki Kagami<ref>{{Cite book |author=[[鏡裕之]] |script-title=ja:非実在青少年論—オタクと資本主義 |trans-title=Theory of unreal youths: Otaku and capitalism |publisher=[[愛育社]] |year=2010 |page=207 |language=ja |isbn=978-4750003825}}</ref> argue that the database consumption model cannot explain the popularity of [[Cell phone novel|mobile phone novel]] series, including ''[[Koizora]]'' which was a huge boom in 2006 and 2007. On the other hand, critic Tsunehiro Uno says that in a society where database consumption has become ubiquitous, the national function of "literary style" (grand narrative) has since defunct and is now compensated for by expanding plots.<ref>『ゼロ年代の想像力』310–311頁。</ref> Whether it be the light novel boom, the mobile phone novel boom, or the practical-book-like novel boom,{{NoteTag|Practical-book-like novels ({{Lang|ja|実用書的小説}}) are those released in novel packages but are in fact practical books. Examples include Natsumi Iwasakii's ''[[Moshidora]]'' and [[Takafumi Horie]]'s {{Lang|ja|拝金}} (''Worshipping Money'') and {{Lang|ja|成金}} (''Becoming Rich'').}} what matters is not the content of the text itself, but how efficiently it allows access to the background database.<ref>「ゼロ年代の想像力、その後」『ゼロ年代の想像力（文庫版）』437–438頁。</ref><ref>「2010カルチャー総括座談会 小説編」『CYZO×PLANETS SPECIAL PRELUDE2011』第二次惑星開発委員会、2010年、103頁、ISBN 978-4905325017。</ref> Satoshi Hamano, a critic and sociologist, draws parallels between the "deep emotion" frequently mentioned by mobile phone novel fans and animalized otaku's "''moe''" in database consumption theory by Azuma.<ref>{{Cite book |author=[[濱野智史]] |script-title=ja:アーキテクチャの生態系——情報環境はいかに設計されてきたか |trans-title=Architecture ecosystem: How has the information environment been designed? |publisher=[[NTT Publishing|エヌ・ティ・ティ出版]] |year=2008 |page=265 |isbn=978-4757102453 |language=ja}}</ref>

== See also ==
* [[Authenticity (philosophy)]]
* [[Fan fiction]]
* [[Hyperreality]]
* [[Participatory culture]]
* [[Media mix]]
* [[Transformativeness]]
* [[Simulacrum]]
* [[Superflat]]

== Notes ==
{{NoteFoot}}

== References ==
{{Reflist}}

== Bibliography ==

* [[Eiji Ōtsuka|大塚英志]] (1989). 『[[Narrative consumption|物語消費論]]』 [[Shin-yo-sha|新曜社]]
* [[Hiroki Azuma|東浩紀]] (2001).『動物化するポストモダン オタクから見た日本社会』 [[Kodansha|講談社]] {{ISBN|978-4061495753}}
** {{Cite book |author=[[Hiroki Azuma]] |translator-first1= Jonathan E. |translator-last1=Abel |translator-first2=Shion |translator-last2=Kono |title=Otaku: Japan's Database Animals |publisher=University of Minnesota Press |isbn=978-0816653522}}
* 東浩紀 (2007). 『ゲーム的リアリズムの誕生~動物化するポストモダン2』 講談社 {{ISBN|978-4061498839}}
* 東浩紀 (2003). 「動物化するオタク系文化」『網状言論F改—ポストモダン・オタク・セクシュアリティ 』青土社 {{ISBN|978-4791760091}}

[[Category:Otaku]]
[[Category:Postmodern theory]]
[[Category:Consumption]]