In the meaning which has been provided, otaku may be someone who derives enjoyment from getting confused between reality and fiction. In order to answer the question in a proper manner, it is important to define what exactly the fiction is and what the reality is. In Saito Tamaki’s book “beautiful fighting girl”, he has given the theory that there is no binary opposite between “fiction” and “real.” It has been stated that whatever is called as the “everyday reality” is actually a set of experiences that merge from a consciousness of not being mediated. Also it has been explained that the “fiction” is “an “imaginary concept” which has been determined by a large number of forms of media which is necessary to mediate the creation of work.
This is similar to whatever is written by Andre Nassenber in his book “Interface Fantasy- A Lacanian Cyborg Ontology, a “transcendental scheme.” The book aggrandizes the desire of the people by providing its co-ordinates and motivates the people to desire, instead of just realizing the desire in our hallucination. He has also stated that the role of fantasy is a way which is analogous to the ill-fated pineal gland as per the philosophy of Descartes who has been the mediator in between the normal kind of symbolic structure which is formal and the positivity of objects which has been encountered by the people in reality.
In Murakami’s sculpture, the materialization of Otaku’s desire has been done. The writer states that their desires to love an amine character in a 3 dimensional form which is within a 2-dimensional world. The chapter one of the Summon Monsters by Takashi Murakami creates a real potentiality of the anime world. Thus it can be concluded that there can never be a discussion related to otaku without doing the proper underlining of the different types of imaginary terms. He adds that the people cannot postulate any kind of structural difference between the non-otaku subjects. This is because both of these are neurotics and they also stand in a similar related to the symbol.
Another approach to answer the question of “reality” and “fiction” within animation theory to understand otaku’s possession of anime can be done by consideration of three different types of concepts which may be related to realism and animation for Otsuka. These have been introduced in “Animating film theory” by Marck Steinberg. The very first concept is the realism whose referent is the biological body. The second concept is realism whose referent is the mechanic or its photorealistic depiction. Also the final and the most important concept is to have the proper understanding related to the “manga-anime realism.” From these concepts it can be said that it is realism whose premise is the environmental ubiquity of animation and manga. Also, it is not something which includes the common discussion of realism in artwork, as a realistic depiction of the world in terms of the visual level. According to Tezuka Osamu’s “semiotic” theory of manga”, it has been argued that there is a certain level of tension for manga and anime. There is a semiotic drawing that possesses a physical body that can bleed and die, and can have sexual relations with others even if the drawing has no relation to a real-world referent.
As suggested by Otsuka Eiji and Azuma Hiroki, Animations leads to the development of a particular form of realism in a code-structure space, which may also be different from the cinematic realism. It explicates the emotion and affect for otaku and its disordered and deviant behaviour.
However, different stereotypes of otaku often embrace the concepts of “isolation” or “failure”. This is done for the establishment of their social identity in the society. This kind of social identity should be contended along with the significance of creativity and productivity within their fan practice. An instance of the same can be obtained from the journal by J. Ash indicates which states that otaku is a very much negative image in Japanese society in spite of the optimistic picture of otaku is emerging world. The negative views of otaku could be attributed to presuming of the community which does not have the ability to distinguish what the reality is and what actually is the fiction. Further, animation is the primary medium in which otaku’s desires may depend upon. Also, it is just a refugee for the temporary escape from real world.