Posters in Tokyo’s enormous Shinjuku railway station are normally used for advertising commodities like cosmetics and food, as well as new films. But occasionally you may happen across a poster with a birthday message and a picture of a young man, often from a boy band and typically with impeccable looks.
These posters are created by specialized advertising companies and are paid for by adoring fans. They are part of a phenomenon called oshikatsu, a term coined in recent years that is made from the Japanese words for “push” and “activity.”
Oshikatsu refers to the efforts fans engage in to support their favorite oshi. The term can mean an entertainer, an anime or manga character or a group they admire and want to “push.”
A considerable part of this support is economic in nature. Fans attend events and concerts, or buy merchandise such as CDs, posters and other collectables. Other forms of oshikatsu are meant to spread the fame of their idol by sharing content about them, engaging in social media campaigns and writing fan fiction or drawing fan art.
Oshikatsu developed out of the desire of fans to have a closer link to their idols. The combination of oshi and katsu first appeared on social media networks in 2016 and became widespread as a hashtag on Twitter in 2018. In 2021, oshikatsu was nominated as a candidate for Japan’s word of the year, a sign that its use had become mainstream.
Now, it has appeared on the radar of corporate Japan. The reason for this is a burst of inflation in recent years, caused by the Covid pandemic’s supply chain disruption and geopolitical shocks, that has caused Japanese consumers to reduce their spending.
However, with wages set to rise again for the third time in three years, the government is cautiously optimistic that economic growth can be rekindled through consumer-driven spending. Entertainment and media companies are looking to oshikatsu as a potential driver of this, although it is unclear whether the upcoming pay hikes will be sufficient.
A widespread phenomenon
Contrary to popular perception, oshikatsu is no longer the purview solely of subcultures or young people. It has made inroads with older age groups in Japan as well.
According to a 2024 survey by Japanese marketing research company Harumeku, 46% of women aged in their 50s have oshi that they support financially. Older generations tend to have more money to spend, especially after their own children have finished education.
Oshikatsu also signifies an interesting reversal in terms of gender. While husbands in the traditional Japanese household are still expected to be breadwinners, in oshikatsu it is more often women who financially support young men.
How much fans spend on their oshi depends. According to a recent survey by Japanese marketing company CDG and Oshicoco, an advertising agency specializing in oshikatsu, the average amount a fan spends annually on activities related to the oshi is 250,000 yen (about $1,750).
This contributes an estimated 3.5 trillion yen ($24.6 billion) to the Japanese economy each year, and accounts for 2.1% of Japan’s total annual retail sales.
Oshikatsu will drive up consumer spending. But I doubt it will have the impact on the Japanese economy that the authorities are hoping for. For the younger fans, the danger is that government approval will kill any kind of cool clout, making oshikatsu less appealing to these people in the long run.
And if you support an oshi who has not yet made it, you may have a stronger sense that your support matters. Hence some of the spending will go directly to individuals, rather than to established corporate superstars. But it’s also possible that struggling young oshi may spend more of this money than established celebrities.
The international press is focusing either on the economic side of oshikatsu, or on the quirkiness of “obsessive” fans who get second jobs to support their oshi and mothers spending large sums on men half their age. But what such coverage misses is the slow yet profound societal transformation that oshikatsu is a sign of.
Research from 2022 on people engaging in oshikatsu makes clear that “fan activities” address a deep wish for connection, validation and belonging. While this could be satisfied by friendship or an intimate partnership, an increasing number of Japanese young adults feel that such relationships are “bothersome.“
Young men are leading in this category, especially those who do not work as salarymen, the white-collar corporate workers with relatively stable jobs. Many who work part-time or in blue-collar jobs are finding it difficult to imagine a future in which they have families.
The tertiary sector is thus changing to accommodate an increasing number of services that turn intangible things such as friendship, companionship and escapist romance fantasies into paid-for services.
From non-sexual cuddling to renting a friend for the day or going on a date with a cross-dressing escort, temporary respite from loneliness can be sought on a per-hour basis. As a result, human connection itself is becoming something that can be consumed for a fee.
On the other hand, sharing oshikatsu activities can create new friendships. Fans coming together to worship their idols collectively is a powerful way of creating new communities. It remains to be seen how these shifts in the way people relate to each other will shape the future of Japan’s economy and society.
Fabio Gygi, is a senior lecturer in anthropology at SOAS, University of London.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
