After traveling to Spain to study abroad, I noticed a large amount of shops selling goods related to Japanese anime, which helped inspire the topic of my honors thesis. In this paper, the cultural impact of Japanese animation and comics on Spain is explored. The history/origin of anime in Spain, the early reception of these works in Spain, the importance of the anime fandom, the intersection between Spanish and Japanese culture in anime and anime-inspired films, and the positive representation of Spain in these works are all relevant topics that constitute the argument of this document. Sources in both English and Spanish are utilized.This paper explores the surprising connections between the two countries. The way in which their cultures interact through the consumption of this form of media was quite fascinating to look into.

Boy’s Love (BL) and yaoi are a subculture that originated in Japan that refers to sexually explicit male-to-male romantic fantasies in Japanese popular culture (Martin, 2012, p. 365). The term fujoshi, a belonging term of BL and yaoi, refers to females interested in male-to-male romantic relationship fantasies (Suzuki, 2013). In the early 2000s, cultural consumption and artistic communication between China, Japan, and Korea became more frequent (Oh, 2009). A large number of Japanese animations and television series have been imported to China for national communication and cultural sharing. Since then, various genres of Japanese popular culture, including BL (relating to intimate relationships) and yaoi (relating to sexual content), have become widespread in China. Globally, the public understands BL and yaoi as a subordinate portion of the otaku culture that heavily relates to Japanese anime, games, and manga (or comics in English); and a broader homosexual subculture with a deep connection to sexual desires (Bai, 2022). However, in China, the focal point of BL and yaoi is relatively different from the fujoshi communities elsewhere. This project explores BL and yaoi’s development in China, introducing perspectives of what, how, and why the Chinese fujoshi form their community within the public digital spaces shared by the mainstream media culture. Additionally, through anonymous personal interviews, this project brings Chinese fujoshi’s consumer views on their past and current BL and yaoi consumption within and outside of the fujoshi community (see detailed interview process and interviewees’ information in Appendix C-E). Eight Chinese females who have self-identified as fujoshi or had similar practices were selected for the interviews. The chosen participants’ age is from twenty-two to mid-thirties. All of them have had at least five years’ access to BL and yaoi and received higher education. Each participant had at least two interviews answering questions regarding their attitudes as fujoshi and their viewpoints on consuming BL and yaoi products. This thesis analyzes the Chinese fujoshi community’s uniqueness in making BL content visible and yaoi content invisible in China. Consequently, they are forced to have a limited preference for BL and yaoi content, adapt the shared space with other popular cultures on mainstream social media, and utilize alternative communication methods to avoid violating China’s law and censorship. These factors indicate the need for specified classifications or designated digital spaces for BL, yaoi, and even the greater homosexual culture.

In this project, I get at the finer details of what altruism really is, and when an act really counts as altruistic. I draw upon many articles and books that discuss the topic, but some left many questions unanswered. I conducted several close readings of the manga, One Piece, to answer these questions. Through the thematic relevance of the series, I discovered more reliable forms of emotional motivation, identified and analyzed highly similar altruistic imposters, and presented a more comprehensive image of the topic by analyzing egotism.

Students who study abroad often imagine their ideal life before arrival, but many do not intuit that in their desires lie future hardships. Successful Practices for Avoiding Culture Shock and Assimilating into Japanese Culture, a creative project, incorporates step-by-step tips, author anecdotes, real-life survey experiences, and literary references to help students adjust to the mental stresses that come with studying and living within a foreign culture. Three parts divide the brochure and promote self-empowerment and success. Topics include but are not limited to the importance of establishing goals in connection to study abroad, securing funds and scholarships, surviving international travel, building on failure, overcoming language learning plateaus, avoiding danger, perceiving beyond what is visible in the host culture, and reverse culture shock. By following the steps proposed in this brochure, students will be able to outsmart the negative aspects of culture shock. Although this brochure aims to be of use to anyone aspiring to study abroad, it primarily targets students who wish to study in Japan. For additional preparation, students will scrutinize Japan-America intercultural situations via activities and trace where instances of culture shock may arise. Perceptive students will realize that the homogenous nation emphasizes a group mentality, and that the individualistic and ethnocentric programming most Americans undergo serves no place in the collectivistic culture. A student will succeed not by imagining himself or herself as a visitor, but as someone who truly has a role in the society. If students do not impose their American disposition, but instead adopt characteristics that harmonize with a Japanese temperament, they will heighten their senses as a listener and observer, and thus find belonging in the culture.

The paper analyzes Eiichiro Oda's One Piece and its depiction of sexuality and LGBT characters. The author puts forth that this representation is not only a positive representation, but is also important for the representation of LGBT in future anime and manga. In the first chapter, the author describes the history of male-male sexuality in Japan, starting from its recorded inception in writing, continuing into its proliferation in the Tokugawa period, and its declining in the Meiji period. This section highlights the major changes of male-male sexuality in Japan. The second chapter focuses on the latter half of the twentieth century, as LGBT began to take a new identity and a different kind of scrutiny by the public. The chapter continues through the decades as new terms are introduced and popularized to describe LGBT people. The chapter also describes some of the genres of male-male sexuality that became popular at the time. The third chapter is a focus on the title work: One Piece. In this chapter, the author analyzes several LGBT characters and their roles within the story. The author finds that the characters are developed thoroughly in contrast with most stereotypes in other works and in some ways reflect on Japanese society's treatment of LGBT. In the paper's conclusion the author examines another popular work directly influenced by One Piece that also contains LGBT characters. These characters also diverge from common stereotypes of LGBT characters, indicating a trend in popular works of depicting LGBT characters in a positive manner. The paper ultimately comes to the conclusion that this trend will continue in the future of anime and manga.

In the current age, with media influence spreading through the entire world, formerly isolated regions and gated cultures became interconnected. With this globalization of culture came the communion between Japanese and Western media, especially animation and comics. Morality is often exemplified by heroes within a particular culture as figures for audiences to admire and draw values from, which can be a useful representation of that society's particular standards. The cultures' portrayal of heroism and morality through characterization and plot structure are emblematic not only of their original culture, but the new age of globalization as concepts previously considered unique to one region soon blended together through the world. From the Western "Hero's Journey" style mythos to the Japanese anime and manga heroes of the modern decades, we can see the growth and impact of globalization which caused new blends of portrayals and themes in revolutionary ways. The roots of the differences were found through research of popular culture and history of Japanese animation and Western comic books. Iconic Western comic book heroes such as Superman, Batman, and Wolverine are analyzed, followed by analysis and comparison to the Japanese parallel of the Japanese hero, specifically within Hirohiko Araki's acclaimed Jojo's Bizarre Adventure anime and manga franchise. Finally, the popular animated Western cartoon Avatar: The Last Airbender, known for its vast Eastern influence, meet the two worlds in the middle and epitomize the globalization of this concept of a hero's narrative. The purpose of this analysis is to understand the dynamics of cultural influence and cultural specificity, elucidating some stereotypes in contemporary culture brought by misconceptions and traditions in order to promote cross-cultural understanding.

While studying in Japan, I became fascinated by the variety shows my roommates would watch. These shows featured a flexible format with comedians and other entertainers participating in a wide variety of activities. For my senior creative project, I decided to determine what features were essential to Japanese variety shows, and to then use these features to create my own program.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.