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The Melancholy of Subculture Society

Internet links small groups, helping dissolve big groups; good, bad? But a bit sad.

If you crack open some of the mustier books about the Internet—you know the ones I’m talking about, the ones which invoke Roland Barthes and discuss the sexual transgressing of MUDs—one of the few still relevant criticisms is the concern that the Internet by uniting small groups will divide larger ones.

Surfing Alone

You may remember this as the Bowling Alone thesis applied to the Internet; it got some traction in the late 1990s. The basic idea is: electronic entertainment devices grows in sophistication and inexpensiveness as the years pass, until by the 1980s and 1990s, they have spread across the globe and have devoured multiple generations of children; these devices are more pernicious than traditional geeky fares inasmuch as they are often best pursued solo. Spending months mastering Super Mario Bros—all alone—is a bad way to grow up normal.

And Then There Were None

The 4 or 5 person Dungeons & Dragons party (with a dungeon master) gives way to the classic arcade with its heated duels and oneupsmanship; the arcade gives way to the flickering console in the bedroom with one playing Final Fantasy VII—alone. The increased graphical realism, the more ergonomic controllers, the introduction of genuinely challenging AI techniques… Trend after trend was rendering a human opponent unnecessary. And gamer after gamer was now playing alone.

Perhaps, the critic says, the rise of the Internet has ameliorated that distressing trend—the trends favored no connectivity at first, but then there was finally enough surplus computing power and bandwidth for massive connectivity to become the order of the day.

It is much more satisfactory and social to play MMORPGs on your PC than single-player RPGS, much more satisfactory to kill human players in Halo matches than alien AIs. The machines finally connect humans to humans, not human to machine. We’re forced to learn some basic social skills, to maintain some connections. We’re no longer retreating into our little cocoons, interacting with no humans.

Welcome to the N.H.K.!

But, the critic continues, things still are not well. We are still alienated from one another. The rise of the connected machines still facilitates withdrawal and isolation. It presents the specter of the hikikomori—the person who ceases to exist in the physical realm as much as possible. It is a Japanese term, of course. They are 5 years further in our future than we are (or perhaps one should say, were?). Gibson writes, back in 200125ya (see also his “Shiny Balls of Mud” short essay):

The Japanese seem to the rest of us to live several measurable clicks down the time line. The Japanese are the ultimate Early Adopters, and the sort of fiction I write behooves me to pay serious heed to that. If you believe, as I do, that all cultural change is essentially technologically driven, you pay attention to the Japanese. They’ve been doing it for more than a century now, and they really do have a head start on the rest of us, if only in terms of what we used to call ‘future shock’ (but which is now simply the one constant in all our lives).

Gibson also discusses the ‘Mobile Girl’ and text messaging; that culture began really showing up in America around 20051Sidekicks, Twitter etc. You can do anything with a cellphone: order food, do your job, read & write novels, maintain a lively ‘social’ life, engage in social status envy (‘She has a smaller phone, and a larger collection of collectibles on her cellphone strap! OMG!’)… Which is just another way of saying ‘You can do anything without seeing people, just by writing digital messages’. (And this in a country with one of the most undigitizable writing systems in existence!2 Languages are not created equal3.)

The hikikomori withdraws from all personal contact. The hikikomori does not hang out at the local pub, swilling down the brewskis as everyone cheers on the home team. The hikikomori is not gossiping at the rotary club nor with the Lions or mummers or Veterans or Knights. hikikomoris do none of that. They aren’t working, they aren’t hanging out with friends.

The paradoxical solitude and omnipotence of the otaku, the new century’s ultimate enthusiast: the glory and terror inherent of the absolute narrowing of personal bandwidth.

William Gibson, “Shiny balls of Mud” (TATE 200224ya)

So what are they doing with their 16 waking hours a day?

Opting Out

But it’s better for us not to know the kinds of sacrifices the professional-grade athlete has made to get so very good at one particular thing…the actual facts of the sacrifices repel us when we see them: basketball geniuses who cannot read, sprinters who dope themselves, defensive tackles who shoot up with bovine hormones until they collapse or explode. We prefer not to consider closely the shockingly vapid and primitive comments uttered by athletes in postcontest interviews or to consider what impoverishments in one’s mental life would allow people actually to think the way great athletes seem to think. Note the way ‘up close and personal’ profiles of professional athletes strain so hard to find evidence of a rounded human life–outside interests and activities, values beyond the sport. We ignore what’s obvious, that most of this straining is farce. It’s farce because the realities of top-level athletics today require an early and total commitment to one area of excellence. An ascetic focus. A subsumption of almost all other features of human life to one chosen talent and pursuit. A consent to live in a world that, like a child’s world, is very small…[Tennis player Michael] Joyce is, in other words, a complete man, though in a grotesquely limited way…Already, for Joyce, at twenty-two, it’s too late for anything else; he’s invested too much, is in too deep. I think he’s both lucky and unlucky. He will say he is happy and mean it. Wish him well.

David Foster Wallace, “The String Theory” (July 199630ya Esquire)4

They’re not preoccupied with our culture—they’re participating in their own subculture. It’s the natural progression of the otaku. They are fighting on Azeroth, or fiercely pursuing their doujinshi ‘career’, or… There are many subcultures linked and united by the Internet, for good and ill. For every charitable or benevolent subculture (eg. free software) there is one of mixed benefits (World of Warcraft), and one outright harmful (ex. fans of eating disorders, child pornography).

The point the critic wants to make is that life is short and a zero-sum game. You lose a third of the day to sleep, another third to making a living, and now you’ve little left. To be really productive, you can’t divide your energies across multiple cultures—you can’t be truly successful in mainstream culture, and at the same time be able to devote enough effort in the field of, say, mechanical models, to be called an Otaking. A straddler takes onto his head the overhead of learning and participating in both, and receives no benefits (he will suffer socially in the esteem of the ‘normals’, and will be able to achieve little in his ‘hobby’ due to lack of time and a desire to not go overboard).5

The otaku & hikikomori recognizes this dilemma and he chooses—to reject normal life! He rejects life in the larger culture for his subculture6. It’s a simple matter of comparative advantage; it’s easier to be a big fish in a small pond than in a large one.7

The Bigger Screen

Have you ever woken up from a dream that was so much more pleasant than real life that you wish you could fall back to sleep and return to the dream?…For some, World of Warcraft is like a dream they don’t have to wake up from—a world better than the real world because their efforts are actually rewarded.

Half Sigma, “Status, masturbation, wasted time, and WoW” (200620ya)

EVE Online is unique in gaming in that we have always played on the same massive server in the same online universe since May 200323ya when it first went live. We not only understand the harsh penalties for failure, but also how longevity and persistence is rewarded with success. When you have over 60,000 people on weekends dealing, scheming, and shooting each other it attracts a certain type of gamer. It’s not a quick fix kind of game. We enjoy building things that last, be they virtual spaceships or real life friendships that together translate into massive Empires and enduring legacies. Those of us who play understand that one man really can truly make a difference in our world.

Mark ‘Seleene’ Heard (Vile Rat eulogy, 201214ya)

As ever more opt out, the larger culture is damaged.8 The culture begins to fragment back into pieces. The disconnect can be profound; an American anime geek has more in common with a Japanese anime geek (who is of a different ethnicity, a different culture, a different religion, a different language…) than he does with an American involved in the evangelical Christian subculture. There is essentially no common ground—our 2 countrymen probably can’t even agree on objective matters like governance or evolution!

With enough of these gaps, where is ‘American’ or ‘French’ culture? Such cultural identities take centuries to coalesce—France did not speak French until the 1900s (as The Discovery of France recounts), and Han China is still digesting & assimilating its many minorities & outlying regions. America, of course, had it easy in starting with a small founder population which could just exterminate the natives.

The national identity fragments under the assault of burgeoning subcultures. At last, the critic beholds the natural endpoint of this process: the long nightmare of nationalism falls like a weight from the minds of the living, as the nation becomes some lines on a map, some laws you follow. No one particularly cares. The geek thinks, ‘Meh: here, Canada, London, Japan, Singapore—as long as FedEx can reach me and there’s a good Internet connection, what’s the difference?’ (Nor are the technically-inclined alone in this.9)

You can test this yourself. Tell yourself —‘The country I live in now is the best country in the world for people like me; I would be terribly unhappy if I was exiled.’ If your mental reply goes something like, ‘Why, what’s so special about the USA? It’s not particularly economically or politically free, it’s not the only civilized English-speaking country, it’s not the wealthiest10…’, then you are headed down the path of opting out.

This is how the paradox works: the Internet breaks the larger culture by letting members flee to smaller subcultures. And the critics think this is bad. They like the broader culture11, they agree with Émile Durkheim about atomization and point to examples like South Korea, and deep down, furries and latex fetishists really bother them. They just plain don’t like those deviants.

But I Can Get a Higher Score!

In the future, everyone will be world-famous for 15 minutes.

Andy Warhol

Let’s look at another angle.

Monoculture

Irony has only emergency use. Carried over time, it is the voice of the trapped who have come to enjoy their cage.

Lewis Hyde, Alcohol and Poetry: John Berryman and the Booze Talking12

One can’t opt out of culture. “There is no view from nowhere.” To a great extent, we are our cultural artifacts—our possessions, our complexes of memes, our habits and objects of disgust are all cultural. You are always part of a culture.

Suppose there were only 1 worldwide culture, with no subcultures. The overriding obsession of this culture will be… let’s make it ‘money’. People are absolutely obsessed with money—how it is made, acquired, degraded, etc. More importantly, status is defined just by how much you have earned in your life; in practice, tie-breakers include how fast you made it, what circumstances you made it in (everyone admires a person who became a billionaire in a depression more than a good-times billionaire, in the same way we admire the novelist in the freezing garret more than the comfortable academic), and so on.

This isn’t too absurd a scenario: subjects feed on themselves and develop details and complexity as effort is invested in them. Money could well absorb the collective efforts of 7 billion people—already many people act just this way.

But what effect does this have on people? I can tell you: the average person is going to be miserable. If everyone genuinely buys into this culture, then they have to be. Their talents at piano playing, or cooking, or programming, or any form of artistry or scholarly pursuit are denigrated and count for naught. The world has become too big—it did not use to be so big, people so powerless13 of what is going on:

“Society is composed of persons who cannot design, build, repair, or even operate most of the devices upon which their lives depend…In the complexity of this world people are confronted with extraordinary events and functions that are literally unintelligible to them. They are unable to give an adequate explanation of man-made phenomena in their immediate experience. They are unable to form a coherent, rational picture of the whole.

Under the circumstances, all persons do, and indeed must, accept a great number of things on faith…Their way of understanding is basically religious, rather than scientific; only a small portion of one’s everyday experience in the technological society can be made scientific…The plight of members of the technological society can be compared to that of a newborn child. Much of the data that enters its sense does not form coherent wholes. There are many things the child cannot understand or, after it has learned to speak, cannot successfully explain to anyone…Citizens of the modern age in this respect are less fortunate than children. They never escape a fundamental bewilderment in the face of the complex world that their senses report. They are not able to organize all or even very much of this into sensible wholes….”14

You can’t make a mark on it unless there are almost as many ways to make marks as there are persons.15

To put it another way: women suffer enough from comparing themselves to media images. If you want a vision of this future, imagine everyone being an anorexic teenager who hates her body—forever. In the contemporary First World, people die from starvation, not of food, but pride.

We all value social esteem. We need to know somebody thinks well of us. We’re tribal monkeys; ostracism means death.

Jaron Lanier: “I’d like to hypothesize one civilizing force, which is the perception of multiple overlapping hierarchies of status. I’ve observed this to be helpful in work dealing with rehabilitating gang members in Oakland. When there are multiple overlapping hierarchies of status there is more of a chance of people not fighting their superior within the status chain. And the more severe the imposition of the single hierarchy in people’s lives, the more likely they are to engage in conflict with one another. Part of America’s success is the confusion factor of understanding how to assess somebody’s status.”

Steven Pinker: “That’s a profound observation. There are studies showing that violence is more common when people are confined to one pecking order, and all of their social worth depends on where they are in that hierarchy, whereas if they belong to multiple overlapping groups, they can always seek affirmations of worth elsewhere. For example, if I do something stupid when I’m driving, and someone gives me the finger and calls me an asshole, it’s not the end of the world: I think to myself, I’m a tenured professor at Harvard. On the other hand, if status among men in the street was my only source of worth in life, I might have road rage and pull out a gun. Modernity comprises a lot of things, and it’s hard to tease them apart. But I suspect that when you’re not confined to a village or a clan, and you can seek your fortunes in a wide world, that is a pacifying force for exactly that reason.”16

Think of the people you know. How many of them can ‘compete’ on purely financial grounds? How many can compare to the chimps at the top of the financial heap without feeling like an utter failure, a miserable loser? Not many. I can’t think of anyone I know who wouldn’t be at least a little unhappy. Some of them are pretty well off, but it’s awfully hard to compare with billionaires in their department. There’s no way to prove that this version of subcultures is the right one (perhaps fragmenting the culture fragments the possible status), but when I look at simple models, this version seems plausible to me17 and to explain some deep trends like monogamy18.

Subcultures Set You Free

If you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time.

Max Ehrmann, “Desiderata

Having a society in which an artist can mingle as social equals with the billionaire and admit the Nobel scientists and the philanthropist is fundamental to our mental health! If I’m a programmer, I don’t need to be competing with 7 billion people, and the few hundred billionaires, for self-esteem. I can just consider the computing community. Better yet, I might only have to consider the functional programming community, or perhaps just the Haskell programming community. Or to take another example: if I decide to commit to the English Wikipedia subculture, as it were, instead of American culture, I am no longer mentally dealing with 300 million competitors and threats; I am dealing with just a few thousand.19

It is a more manageable tribe. It’s closer to the Dunbar number, which still applies online20. Even if I’m on the bottom of the Wikipedia heap, that’s fine. As long as I know where I am! I don’t have to be a rich elite to be happy; a master craftsman is content21, and “a cat may look at a king”.

Leaving a culture, and joining a subculture, is a way for the monkey mind to cope with the modern world.

Growing Up

Often, I must speak otherwise than I think. That is called diplomacy.

Stilgar, Frank Herbert’s Dune Messiah

I have a theory about why so few older people are hikikomoris or otaku.

I think that they have succumbed to learned helplessness: they’ve suffered throughout their entire life the fear22 & stress of walking down a crowded street and having no idea who all these people are, what threat they are23, or how they relate to you, and their minds have been warped to the point that it no longer bothers them, they’ve simply adapted to the mental burden24. (As one would expect, young people are more exhausted by groups25.) The remaining mental dislocation is handled by exactly those small-scale social organizations whose passing Putnam bemoans in Bowling Alone. (This solution is as viable as it ever was. But the young have other options, and are no longer forced into this ancient conformity.)

Stress is an important issue. You can ask the primatologists, they’ll tell you. Social stress shortens lives. The monkeys on the bottom of the heap don’t live as long as they should; the hormones like cortisol damage the body26. The ape at the top of the heap may not live particularly long either, but at least he can see his death coming. Madness is not associated with the countryside; it is with the city27, perhaps due to stress or low-level infections28.

Special, like Everyone Else

I thought that everyone in Japan had to be packed in there. So I turned to my dad and asked him, ‘Do you know how many people are here right now’? He said since the [baseball] stadium was full, probably fifty thousand…I was only one little person in that big crowded stadium filled with people, and there were so many people there, but it was just a handful out of the entire population. Up till then, I always thought that I was, I don’t know, kind of a special person. It was fun to be with my family. I had fun with my classmates. And the school that I was going to, it had just about the most interesting people anywhere. But that night, I realized it wasn’t true. All the stuff we did during class that I thought was so fun and cool, was probably happening just like that in classes in other schools all over Japan. There was nothing special about my school at all.

Haruhi Suzumiya, a nothing-special girl (The Melancholy of Haruhi Suzumiya)

Chronic stress is particularly toxic. If the stress is caused by an unclear and extremely low place in the social order, then modern man will constantly suffer it, and his health will be impaired by it.

When one considers this, it’s clear that seceding from the culture at large can have benefits that the larger culture can never deliver. A larger culture can never reduce the number of people I need to know about to a few hundred or thousand; it can never give me an intuitive place in the scheme of things. 7 billion, or even 300 million, is just too large.

But a subculture can deliver that. A subculture can know my name, and pat me on the back for an achievement that to a larger culture is incomprehensible at best and trivial or objectionable at worst. A subculture can remove that social stress.

And if we were to take it even further? If we chose a subculture that was online, and we never went outside? Then all the stress would be gone; if one doesn’t walk down the street, one isn’t bothered by strangers in such close proximity.

“A Winner Is You”

You are right, Jeanne, I don’t know how to care about the salvation of my soul.
Some are called, others manage as well as they can.
I accept it, what has befallen me is just.
I don’t pretend to the dignity of a wise old age.
Untranslatable into words, I chose my home in what is now.

Czesław Miłosz, “A Conversation With Jeanne”

The ability to play chess is the sign of a gentleman. The ability to play chess well is the sign of a wasted life.

Paul Morphy?29

To judge by many people’s revealed preferences, work is what is most important to them, yet the common saying goes that on one’s deathbed, no one wishes they’d spent more weekends in the office; is Jiro Dreams of Sushi admirable, or horrible? Particularly the treatment of Jiro’s two sons and his minimal relationship with his own wife gives one pause for thought. Speaking of Jiro, it’s worth noting that the protagonist of world-famous director Hayao Miyazaki’s The Wind Rises is also named Jiro, and speaking of Miyazaki, there are some interesting remarks by his son Goro Miyazaki30:

Hayao Miyazaki, to me, is “Zero Marks as a Father, Full Marks as a Director”. My father was almost never at home. That’s why for me, when I was a child, my mother had to fill the place of my father. My father came home every day in the middle of the night, after I had already gone to sleep. He was always very conscientious in this regard—apparently, no matter how late it was, he always made sure that he came home. But almost every Saturday and Sunday he was still at work regardless. That’s why, from my earliest awareness to the present day, I hardly ever had the chance to talk to him. He always came back after I was asleep, and when I left for school at 8 o’clock he was still asleep. That’s why, when I was in elementary school, before going to school I often used to go and look in the bedroom to see if my father was there or not. My father threw himself completely into his work. Not only did he not look after the children, he never did a single bit of housework. So my mother did all of that. My mother was also an animator, but when my younger brother was born, just before I started going to elementary school, my father changed workplaces, and his work got even busier than before. So the result was, that in order to bring up the children, my mother had no choice but to give up being an animator.

For a great artist, one could perhaps justify the costs. But for other people…?

A phenomenon in various fields is Lotka’s law, which is an exponential power law for number of publications per authors: most publish few, but a few publish many. Simonton decades later would formulate the ‘equal-odds rule’ which says that in general, no scientist has a higher batting average than others do; the outsized differences in performance stem from simply the greats publishing a great deal. (One thinks of Gauss’s unpublished notebooks, revealed to contain many mathematical discoveries found by later mathematicians, when the mathematical historians finally went through them all, or of the gems buried in the notes of the American logician Charles Sanders Peirce.) Hence, Lotka’s law extends to the actual discoveries: most make a few, but a few make many more than they should. Charles Murray remarks in Human Accomplishment on the graphs of ‘great’ artists or scientists (as measured by how many different textbooks or encyclopedias thought they were important enough to mention) that they exhibit—no matter how you try to recalculate or adjust them—an extraordinary imbalance with many minor figures and just a few universal figures, as Lotka’s law predicts; this is odd, since the distribution looks nothing like a bell curve or “normal distribution” as one would predict if greatness were based only on IQ or only on hard-workingness or only on wealth. Some of this is network or Matthew effects, but the simplest explanation is that greatness requires multiple traits: one must be intelligent and hard-working and not desperately poor and… Many of which are normal distributions or similar, and when the requirements multiply out, what is left is a fast-shrinking distribution—like Lotka’s law.

One of the requirements for great work in any field is that one must be motivated—one must think one’s work or the field vitally important. It’s hard to become a chess grandmaster if one has contempt for devoting one’s life to studying the minutia of an arbitrary set of rules whose mastery has no utility to anything else whatsoever. I believe this may lead to a paradox of expertise, a winner’s curse: those most likely to have achieved world-class mastery of a topic are systematically the most likely to be self-deluding or badly mistaken about its value. The “grandmasters” of many fields claim their field is uniquely important, which of course cannot be true in general, or uniquely satisfying to them, which seems improbable as any person can have sampled but few of life’s wares. Dinosaur Comics, on the topic of world-class violinists starting in very early youth, asks “What are the odds a 6-year-old would know what a 30-year-old wants to do?”

One sees this in chess: various chess figures extol its applicability to finance, with no evidence; or claim it is applicable to politics, despite the analogy being tenuous at best and chess inferior to games like Go, regardless; or place their hopes in chess training of children transferring to faculties like IQ, despite all such attempts at “far transfer”—even far more plausible ones like early enrichment or (most) nutritional supplements or dual n-back—failing for the last 60 years and the cited chess studies being either methodologically suspect or contradictory. Is chess really something to spend one’s life on? World chess champion Magnus Carlsen said something interesting in early 2010:

Carlsen: “I have no idea [what my IQ is]. I wouldn’t want to know it anyway. It might turn out to be a nasty surprise.”

SPIEGEL: “Why? You are 19 years old and ranked the number one chess player in the world. You must be incredibly clever.”

Carlsen: “And that’s precisely what would be terrible. Of course it is important for a chess player to be able to concentrate well, but being too intelligent can also be a burden. It can get in your way. I am convinced that the reason the Englishman John Nunn never became world champion is that he is too clever for that…At the age of 15, Nunn started studying mathematics in Oxford; he was the youngest student in the last 500 years, and at 23 he did a PhD in algebraic topology. He has so incredibly much in his head. Simply too much. His enormous powers of understanding and his constant thirst for knowledge distracted him from chess.”

SPIEGEL: “Things are different in your case?”

Carlsen: “Right. I am a totally normal guy. My father is considerably more intelligent than I am.”

Can we exempt subcultures from this line of thought? Are those who become “Otakings” kings only of folly? This is the curse of knowledge: those who know, do not do—and those who do not know, do.

Sympathy for the Poor Devil

The secret of Tokyu Hands is that everything on offer there inclines, ultimately, to the status, if not the perfection, of hikaru dorodango. The brogues, shined lovingly enough, for long enough, with those meticulously imported shoe-care products, must ultimately become a universe unto themselves, a conceptual sphere of lustrous and infinite depth.

Just as a life, lived silently enough, in sufficient solitude, becomes a different sort of sphere, no less perfect.

Gibson, “Shiny Balls of Mud”

Society, looked at objectively, has a lot of downsides31. For anyone who hasn’t already bought into society, who isn’t perfectly suited for it, becoming a hikikomori is a halfway logical reaction. They have their reasons, and we can even tie the justifications to scientific results.

If someone really prefers their subculture, which gives them mental ease and physical health, then what right do the rest have to interfere and drag them into the main culture? Large homogenous cultures are accomplished only with great effort, and much bloodshed of body and mind. Their benefits are unclear, and the justifications transparently self-serving. Perhaps we should accept gracefully the inevitable sundering of ‘national’ cultures, and learn to operate within a truly multicultural world. Each of us with a niche of our own, on respectful (if uncomprehending) terms with all the other subcultures.

…I think he’s both lucky and unlucky. He will say he is happy and mean it. Wish him well.

David Foster Wallace, “String Theory”

See Also

Appendix

Japan and the Internet

The future of technology isn’t what it used to be—a discussion of the collapse of Japanese influence on technology & design.

Why did Japanese companies cease to be the admired cutting-edge of computer, video game, Internet, or smartphone technology, underperforms in critical areas like software design (such as programming languages) and is instead one of the last havens of fax machines & feature phones, with prestigious but largely useless humanoid robotic programs?

(Written primarily in 201214ya, but depressingly applicable to 2025.)

I quoted approvingly Gibson’s old 2000s dictum that Japan was further into the future than the West. This used to be more true than it is, and the discrepancy started being noted as early as 199828ya, in Ohsuga’s “The Barriers to Software Development in Japan”. The problem is the dog which did not bark: there is a curious lack of Japanese contributions in software technology. Japan has a highly educated population a good fraction of the size of US population (127m vs 300m), considerable indigenous R&D capability (albeit declining), long involvement in computing hardware, early dominance of entire categories of consumer electronics etc. Hence, if all were equal, one would expect something like a third of all major software packages written by Japanese or Internet services developed by Japanese, and so on. Instead, one notices almost a complete absence of such Japanese contributions. (To the extent one doesn’t notice this, one is engaging in base rate fallacy—Japan ought to be producing much globally selling or popular software and its absence is surprising32.) In software, the only major contribution I know of is the Ruby programming language 33; one could argue that would-be FLOSS contributors are “bled off” or parasitized by the Anglosphere FLOSS communities (and are somehow invisible there), but I am continually struck by the almost complete absence of FLOSS in doujinshi media & the survival and massive popularity of closed-source software, where this argument should not apply and where FLOSS practices would entirely appropriate. Websites are simply ugly; Oliver Reichenstein:

OR: Japanese web or app design is not comparable to Japanese art, graphic design or architecture. I could fill a page explaining why. It has to do with the way Japanese read, with the corporate fear of doing something different, and with the generally low level of design for the masses. One reason why Japanese web and app design feels weak is that technology requires good active and passive knowledge of English. English is the lingua franca of contemporary web and app development, both of our tools and our discourse. Even if you master English-based Objective-C or JavaScript, if you are not able to communicate with the international community of developers and designers, you miss out on what is desirable, even what is possible. Japanese developers and designers that don’t speak English are trapped within the relatively low level of tech and design that currently reigns in the Japanese corporate world…The average web site, app, advertisement… it’s usually really badly designed. That might be hard to believe from the outside, because only the best of the best of Japanese design reaches the rest of the world, but with the web it has become more obvious how bad basic design is in Japan. Yes, the standard for Japanese design in general is as low as for Japanese web design. Why? Nothing is more destructive to good design than group thinking and collective decision making. Why? As I said, to most people good design is invisible. Group decisions focus on the visible, bad aspects of design.

There have been attempts to justify the existing set of web design practices, but I find them unconvincing: this fits a general trend, has a clear origin in slower computers & weaker Internet of decades ago and attempts to mimic completely different media like paper, existed in other countries but have been superseded, are gradually waning in Japan, anecdotes from website designers indicate objective inferiority in A/B tests & conversions, and the practices have not spread worldwide (while rival paradigms do seem to be spreading or be copied).

The Japanese IT industry is fairly dysfunctional, even if its inefficiencies result in cute Easter eggs. For example, the SMS-inspired Internet service cited as integral to the 2011 Tohoku earthquake and tsunami disaster recovery was not a Japanese service, but the American Twitter.

In the 1990s and earlier, near-total Japanese domination of consumer electronics and video games in particular was simply a fact of life; but in the 2000s, the trends began to reverse (with Nintendo particularly slipping) and by the 2010s, there is open discussion of what once was an insane proposition: that Japan was not making good or innovative computer or video games and had succumbed to Galápagos syndrome. This may be a consequence of Japanese preference for video game consoles over computer games (what best-selling Japanese computer games there are seem to fall into the visual novel family of genres), but even if this is not a post hoc explanation, it is still passing the explanatory buck: why, then, was there a Japanese preference for the consoles in the first place, and why didn’t the equivalent huge popularity of consoles in America or Europe lead to any similar disease? Why was the Japanese ratio of console:computer above a fatal limit, but not also the American or European percentages?

Nor are the doujin and FLOSS scenes much better, as previously mentioned: Touhou Project games remain always closed-source and are not distributed outside Japan; Westerners would never tolerate a common animation tool like MikuMikuDance being only freeware, and would insist on it being opened—if only to deal with abandonment issues & make bug-fixing and extensions easier. For every major Western closed-source platform or technology, there is someone trying to make a FLOSS equivalent, even when the alternative is noncompetitive or the task would seem impossible (eg. Diaspora vs Facebook). It’s interesting to note that the only visual novel I have ever heard of being under a CC license (albeit a highly restrictive CC-BY-NC-ND one) is the Western Katawa Shoujo. Of the 5 major visual novel engines—basic game infrastructure that cries out for open-source licensing—only 2 are so licensed. I’ve wondered if there’s an ethnic or nationalist thing going on here: there has always seemed to be an ambivalence in the anime industry about selling overseas (one creator of Serial Experiments Lain expressed surprise & dismay that it was popular in America343536, as did for Evangelion37), one echoed in other areas like Touhou doujin music38. (In contrast, I have a hard time even imagining any American company like Disney having the slightest compunction or concern about selling overseas to non-Americans, much less stating their ambivalence.)

Japan, while originally the leader in cellphones has forfeited its lead and has been outcompeted by Finnish and American cellphones, with surprisingly low smartphone adoption c. 201115ya, perhaps related to the continued use of floppies & fax machines (whose Japanese popularity peaked at around 60% of households 20075201214ya); other parts seem trapped in amber—how surreal to discover in 2020 while ordering a book that Amazon.co.jp supports COD as a payment method, which in America hardly existed in 1990. Gibson’s article seems laughably out of date in this age of the iPhone (part 2), but it was true! One could also wonder why Internet cafes are an institution in South Korea and an obscure niche in Japan? (Patrick McKenzie makes multiple interesting remarks on the parlous state of Japanese IT and cellphones which are too lengthy to quote here.)

Another curious case is the Japanese robotics industry—their walking robots and competitions have been presented triumphantly as the culmination of Japanese technological development, but the odd thing is, the R&D programs that produced ASIMO or HRP-4C are already looking quixotic and ill-fated, re-runs of the Fifth Generation project. Industrial robots were a very successful field for Japan, but that was decades ago. What robots has Japan produced that were as useful as a Roomba? Why were the robots at the Fukushima plant American? (And then there is the exploding field of aerial drones and swarms, which Japan seems excluded from. One thinks of Edsger W. Dijkstra—“The question of whether Machines Can Think… is about as relevant as the question of whether Submarines Can Swim.” Or walk, as the case may be.)

Japanese Internet services restrict themselves to Japan either by apathy or by actively blocking foreign IP address via geoip, which may ultimately be a recipe for failure. (The South Korean social network Cyworld failed in its attempts to expand internationally, and now its lunch is being eaten by Facebook. YouTube has done a similar number on Korean competitors. The Japanese equivalent to Cyworld, Mixi seemed to be fending off Facebook, at least until mid-2012 or so.) Another example comes from P2P filesharing, which is rarely done for movies or music (in favor of growing CD sales; “many top [K-pop] artists make more money from one week in Japan than they do in one year in Korea”); this is not due just to a sclerotic entertainment industry as we note a similar obsession with CDs in amateur doujin circles as well. Curiously, Japanese geeks who do fileshare choose to use Winny/Share/Perfect Dark—all of which are closed-source, employ security through obscurity, Windows-only, implementation-defined, are not used outside Japan, and are known to be insecure with multiple arrests & NetAgent claims to have broken Perfect Dark; from the perspective of Western users, these are all fatal objections and they haven’t used such insecure and untrustworthy P2P software since the days of Napster and Kazaa. Even Western hentai porn sites have better implementations and contents than the Japanese sites, though it’s the Japanese who produce all their content!

W. David Marx in 200917ya listed other striking aspects of the Japanese intranet, as it were, in his essay “The Fear… of the Internet”; from just one section, ‘User Trepidation’:

  • A total and comprehensive refusal of Japanese social network site users to post real pictures of themselves (and often, real names)

  • An obsession with ultra-long and complicated mobile-email addresses as a spam prevention measure, despite the fact that its effect may be minimal, especially when weighed against the inconvenience.

  • A lack of user generated media—YouTube clips, in particular—featuring Japanese faces and real names. Many performers, despite virtuoso-level skills, wear masks or otherwise obscure faces in their video content. [eg. the entirely masked Nico Nico Orchestra]

  • The predominance of anonymous sites like 2ch as the main corridors of internet culture.

  • Blog writers, who have not established fame through other media, almost never reveal real names, even when the information and service provided is of professional quality and not explicitly personal. (More on this here.)

  • The local discomfort towards Google Street Maps—debated on somewhat cultural-essentialist grounds—vastly outweighed the benefits for the louder section of Japanese users, forcing Google to plan a re-shoot of all the streets with a ‘lower angle camera’.

I was struck by the point that “Newspapers do not offer full content online and quickly erase content lest it become searchable archives.” inasmuch as during my Evangelion research, I had been using an interview published by Mainichi Shimbun online, but the entire site vanished months later in a merger with Microsoft Japan; I assumed it would still be available in the Internet Archive, except the IA had blocked access to every single page ever in the entire domain. More extraordinarily, this was not accomplished via the usual robots.txt mechanism, implying Mainichi Shimbun had privately contacted the IA to ask for a custom block on the domain!

The comments mention that the Japanese Wikipedia is smaller than it should be compared to other successful Wikipedias like the German Wikipedia; and I agree since, despite working on many English Wikipedia articles related to Japan like Fujiwara no Teika or the Neon Genesis Evangelion articles, I have never found anything useful on the Japanese Wikipedia (reading them via Google Translate) and further, my articles have often been better and more comprehensive.

The blogger Spike Japan discusses the state of Japanese bandwidth and offers a similar list (in reply to the oped “The Myth of Japan’s Failure”):

You can access Akamai Technologies’ State of the Internet Report by registering here. The most recent one that seems to be freely available is for 201115ya Q2. Our first lesson is on the use and abuse of statistics. That the Japanese city with the fastest average Mbps, Shimotsuma, ranked 3rd in the world, is a small Tokyo dormitory community to which very few Japanese could point on a map, and that one of the Japanese “cities” in the top 50, Marunouchi, is not a city, nor even a ward of Tokyo, but a few blocks of office buildings clustered around Tokyo station, make it readily apparent that if you are a largish country for which Akamai has a lot of data collection points and you have a highish average connection speed, then of course you are going to dominate the city rankings. For a more truthful picture of Internet infrastructure, we need to turn to a country-level analysis. In 201115ya Q2, Japan ranked third for average connection speeds, at 8.9Mbps, behind South Korea at 13.8Mbps and Hong Kong at 10.3Mbps. Impressive, to be sure, but not quite the picture of global leadership that Fingleton insinuates it has. Indeed, the broader the metric becomes, the worse the picture looks for Japan: for high broadband connectivity (above 5Mbps), the Netherlands ranks first at 68% of all connections, Japan ranks 6th, at 55%, and the US 13th at 42%, while for good old-fashioned broadband connectivity (above 2Mbps), 10 mostly European countries have penetration rates over 90%, the US ranks 35th at 80%, and Japan is actually behind the US, coming in 39th place at 76%. What’s more, Japan’s high broadband connectivity actually fell 8.9% YoY and its broadband connectivity fell 12% YoY, while the rates of almost all other countries surged. Not all that stellar a performance at the broadest end of the spectrum, especially given how suited relatively small, very densely populated Japan is to the build-out of broadband.

…There are hosts of other fascinating metrics that show how tentative the Japanese embrace of the Internet has really been: online sales as a percentage of retail sales are far lower in Japan than the developed country average, due to credit-card security concerns (which interestingly are not shared by the South Koreans), online media time consumption is lower than it is in South Korea, China, the US, or the UK, online advertising spending as a percentage of total advertising spending is likewise lower, the money that is spent on advertising is more focused on display than on (more sophisticated) search than elsewhere, usage rates of social networking services such as Facebook are far below those of peer countries, and the Internet is used overwhelmingly for its old-school features-news, search, and e-mail-rather than more up-to-the-minute features such as online music, online gaming, and online banking.

On music: in 2012, “Japan has surpassed the U.S. as the biggest seller of CDs, vinyl and cassette tapes, with 25.4% of global sales, according to the Recording Industry Association of Japan”.

A Wired writer, investigating a rare bright spot in Japanese Internet culture (“In Search of the Living, Purring, Singing Heart of the Online Cat-Industrial Complex”), writes:

Lest I unfairly ratchet up your collective expectations: I will never get to pet Maru, and neither will you. Maru’s supervisory documentarian is named Mugumogu, but beyond that fact, hardly anything is known about her. When I write Maru’s US book publicist-you read that right-it turns out that she knows no more than you or I. The publicist loops in Maru’s US book editor, who offers to pass along some interview questions to Mugumogu’s Japanese agent, who could have them translated, answered, and sent back. But I have no questions for the human being called Mugumogu. My interest lies entirely with the cat. I write back to the US editor in my most professional tone, the one in which I don’t sound like somebody who watches cat videos all day, and say that for my purposes I need to meet Maru IRL. I am willing to sign an IRL NDA. I promise I won’t write a word about Mugumogu herself. I just want 20 or 30 minutes with that cat. A few days later the publicist writes back: Impossible. I’m welcome to write to the Japanese agent, she says, but I should know that not even the agent knows who Mugumogu is; her correspondence all goes through Maru’s Japanese publisher, a certain Okumura-san, of Tokimeki Publishing, a boutique outfit specializing in Internet cat nya-alls and coffee table celebrations of Korean soap operas. I commence months of fruitlessly obsequious email courtship with Mugumogu but ultimately to no avail.

All of this reticence is infuriating. In America people post a video of themselves whistling “Free Bird” in a tutu and they’re heartbroken if they’re not immediately invited on The View. It’s different in Japan, though. There, they haven’t yet cottoned to the idea that the whole point of the Internet is not only that it might make you famous and universally loved but that it might make you famous and universally loved overnight, and for no real reason, and that then it would give you fairly precise metrics for just how famous and loved you were, and for how long. For the Japanese, the Internet is primarily not about self-promotion and exposure but about restraint and anonymity.

To help me understand this introversion—and also in the hope of making contact with some famous Internet cats—I enlist the assistance of David Marx. An American living in Tokyo, Marx writes a very intelligent, popular blog called Néojaponisme, which I’d stumbled upon in my cat-related forays. In a particularly interesting post, Marx offers three reasons for the Japanese cult of online anonymity. The first, which he deems silly, is the fear that criminals or con men might use personal information to harm an unwary Internet user. The second one, the fear that colleagues or bosses might discover personal details that could be problematic at work, he connects to the Japanese cultural milieu, where “any sort of questionable hobby automatically qualifies as a ‘secret double life.’” The third reason—fear that anonymous mobs might bash anyone who tried to stand out too aggressively online—he considers totally legitimate, “in that the Internet in Japan so far has been almost exclusively about anonymous mobs making trouble for individuals and industry.” (He notes that he once had his own photo posted on a Japanese board called Suspicious Foreigners.) I write Marx a fan email and ask if his theories might apply to the question of why the Internet chose cats. He replies right away. Not only has he written about Japanese media trends, he works at YouTube. We Skype. “Japan was relatively late to getting on the Internet,” he says, “and still lags behind in some ways. But with cat stuff they were always leaders-with cats as their conduits. Think about it.” I think about it. I’ve been doing very little but think about it. “Most of the named cats on the Internet are Japanese,” he observes. It’s an excellent point: Those cats on treadmills and cats on yoga mats and cats being slapped to a Joy Division soundtrack, anonymous grimalkins all. But your Marus, your Maos, and your Shironekos—all of them are in Japan…Marx and I watch a few new cat videos, some of the up-and-comers, those challenging or exceeding Maru’s pageviews. “An interesting thing, here in Japan, is that it’s not just the cat partners who post cat stuff. It’s everybody.” Soezimax, for example, is an action-film maker, one of the most popular partners in Japan, with millions of views. But some of his most popular videos are the ones he posts of the fights he has with his girlfriend’s vicious cat, Sashimi-san, who regularly puts Soezimax to rout. He’s the anti-Maru, the standard-bearer of uncute Internet cat aggression. The videos are slightly alarming, especially when we’re all so used to anodyne felinity. Then Marx brings up Japan’s most popular Internet comedian, who used to post regular videos of himself in a cat café. (In Japan, they have cafés where you go to pet cats.) “It’s like”, Marx says, “no matter how successful you are here on the Internet on your own terms, it’s de rigueur that you still have to do something with a cat.” In a culture of Internet anonymity, bred of island claustrophobia and immobility, the Japanese Internet cat has become a crucial proxy: People who feel inhibited to do what they want online are expressing themselves, cagily, via the animal that only ever does what it wants.

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