In lieu of an abstract, here is a brief excerpt of the content:

  • Costuming the Imagination:Origins of Anime and Manga Cosplay
  • Theresa Winge (bio)

All over the world, cosplay fans gather at conventions and parties to share their appreciation of and affection for anime and manga (McCarthy 1993; Napier 2001; Poitras 2001). These fans, who also refer to themselves as otaku,1 wear detailed makeup and elaborate costumes modeled after their favorite anime, manga, and related video game characters (Poitras 2001; Richie 2003). Cosplayers spend immeasurable monies and hours constructing or purchasing costumes, learning signature poses and dialogue, and performing at conventions and parties, as they transform themselves from "real world" identities into chosen (fictional) characters. This is the essence of cosplay, or kosupure (Aoyama and Cahill 2003; Richie 2003).

The term cosplay combines costume and play (or role-play). Cosplay also refers to the activities, such as masquerades, karaoke, and posing for pictures with other otaku, that are associated with dressing and acting like anime, manga, and video game characters (Macias and Machiyama 2004; Poitras 2001). While the term cosplay encompasses various types of costumed role-playing, such as science fiction, fantasy, horror, mythology, fetish, and so forth, this chapter focuses only on Japanese and North American cosplay related to anime, manga, and video games. [End Page 65]

My objective here is to provide the reader with an understanding of anime and manga cosplay, cosplayers, and their social structures. First, I explore the origin stories of cosplay to establish contributions from both Japan and North America. Next, I discuss the distinguishing characteristics of Japanese and North American cosplay to determine the similarities and differences between the two cultural settings. I contextualize four cosplay elements: (1) anime and manga cosplayers, (2) social settings, (3) character and role-playing, and (4) dress,2 which includes clothing or costumes, makeup, wigs or hairstyles, jewelry, and accessories. Last, I offer an introduction to the anime and manga cosplay social structures (i.e., interactions, environments, and experiences) in order to provide the reader with an awareness of the complexities and dynamics of the cosplay world.

Origin Stories of Cosplay

The few sources that discuss the origins of cosplay are primarily found on Web sites, online publications, and weblogs. Constructed and maintained by anime and manga fans, these sources communicate information about anime and manga (most with a personal bias). Therefore, it is not surprising that the specific origins of anime and manga cosplay are highly debated topics among anime and manga otaku (Hlozek 2004). One side speculates that cos-play began in North America, during the 1960s, when people dressed as and role-played their favorite science fiction and fantasy characters, such as Spock from Star Trek and Robin from Batman (Bruno 2002a). This type of costumed role-playing (not yet called cosplay) spanned a variety of genres and may have inspired Japanese anime and manga fans to dress as their favorite characters. On the other side of the debate are those who speculate that cosplay was imported from Japan, coming to North America with the formations of anime and manga fan clubs (Bruno 2002a; Ledoux and Ranney 1997).

The origin story that appears to have the most evidence to support it actually blends the Japanese and North American contributions. In 1984 Takahashi Nobuyuki (known in the United States as "Nov Takahashi"), founder of and writer for Studio Hard, an anime publishing company, attended World-Con, a science fiction convention, in Los Angeles (Bruno 2002a; Hlozek 2004). He was impressed with the costumed science fiction and fantasy fans whom he saw, especially those competing in the masquerade (Bruno 2002a). Consequently, when he returned to Japan and wrote about his experiences at the convention, he focused on the costumed fans and the masquerade. Moreover, [End Page 66] Takahashi encouraged his Japanese readers to incorporate costumes into their anime and manga conventions (Bruno 2002a).

Takahashi was unable to use the word masquerade because this word translated into Japanese means "an aristocratic costume party," which is drastically different from the costume competitions seen at conventions (Bruno 2002a). Instead, he created the phrase costume play, which was eventually shortened to kosupure, or cosplay (Bruno 2002a). As a result, Takahashi added two new words to the subculture and pop culture lexicon...