These two artists have achieved great commercial success in the contemporary art market which is known as their representation of culture icon of Japan. The primary reason for the selection of these artists for the exploration in fandom is that the works that they have produced are inspired from the particularities of Otaku culture. It is distinct from other forms of fan groups due to their habit of consumption that is based upon what is considered to be socially unacceptable. In addition to this, the characteristics of animation as the primary medium in which otaku inhabit explicates a cultural phenomenon of the present digital age in which the amine-world is something which is realistic and is a part of our day to day life.
Saito yet sustains that the erotic desire in fan practice is not only a symbol which is derived from cultural “anxiety” or “identity.” Instead, he takes the same in a more optimistic manner in such a way that the outward performativity is taken by him in fandom as the celebration of perverseness.
“My some boy” and ‘Hiroporn’ describes the celebration of otaku, or rather the celebration of the desires of otaku. Strangely, otaku community holds a very negative view of Murakami’s approach to their sculpture and another anime-inspired project Miss Ko2. They rejected to exhibit the art works in the market (A Cosmic event in Tokyo).
As per the words which are given by Otaku, it is a positive quality to have the sense of aesthetic distance. The mannequin qualities which has been given by Hiropon and my Lonesome Cowboy have been considered to be the object based representation instead of a direct expression which may be related to the attachment or to have the desire of the character of amine. Therefore, the characters Hiropon and my Lonesome Cowboy were something which didn’t had any appeal to Otaku who have been working on them.
In the article published in Kash, it has been argued that Murakami does not intends to challenge any kind of distinctions between Otaku and their art in the works of sculpture. It is true that Murakami tries to reinforce the same in different spheres. It also means that “My Lone some boy” is something which is similar to Hibopron. Thus “My Lone some boy” was nothing but the small representation of the sexual desires of Otaku within the world of art. It even does not have anything to do with the correlations to the mainstream culture. It can be said that the zoom-out size of the sculpture of Gereki that has been made by M is nothing but the massive extension of the erotic desire of Otaku. It clearly implies his claim of “narrative consumption.” in the post-modern society.
Thus, Muramaki embodies the “realism” in otaku fandom by making the use of a method of commercial production in his practice. This is done by him to underline the “narrative consumption” that turns erotic imaginary and fictive obsessions into substances and commercial consumption. It could be seen as an embodiment that the “virtual” world has become as “real” as the “physical” world because of the emergence of animation and the proliferation of other media. Both Mori and Murakami’s work are tells that this is nothing new, as Lacan argued; fantasies and illusions are the forms of all sexual desire (P.xvii intro BG).