Who’s to blame for Weaboos?

There have been several waves of Japanophilia in the West (broadly Europe, the Americas and Oceania), beginning in the early 1540’s CE with the Nanban Trade.

Portuguese traders and Jesuit Priests, then stationed at the Portuguese colony in Malacca, began a trade relationship with Muromachi Japan. This period, known as the Sengoku or Warring States period in Japanese history, was particularly turbulent. Within 32 years of first contact with the Portuguese, the final Muromachi Shogun, Ashikaga Yoshiaki was deposed and driven out of Kyoto by Ota Nobunaga, beginning decades of civil war in the country.

Lower right hand side of a “Arrival of the Southern Barbarians (Nanbanjin)” folding screen painting by Kanô Naizen (1570-1616), circa 1600, currently housed in the Kobe City Museum Collection, showing Jesuit priests in Dejima, Japan with Japanese monks and an elderly Christian.

A few centuries before the Warring States period, the Japanese had been engaging in foreign trading as well as smuggling, raiding , kidnapping and overall piracy in many areas around the coasts of China and Indochina. This included Siam, the Philippine archipelago, Ryukyu, Korea and China. Japanese pirates as well as pirates and brigands of other ethnicities, referred to collectively in Chinese as Wokou (倭寇), even disrupted Chinese shipping to the extent that, in 1371, the founding Ming Emperor Hongwu began an ongoing sea ban, known in Chinese as Haijin (海禁). Under the ban no one, unless appointed by the Emperor himself, could operate in foreign trade and could not even live on the coastline.1

Lower left hand side of the Japanese Pirate Silk Picture Scroll “Wokou Tujuan” by Ming Chinese painter Qiu Ying (1494 – 1552) housed in the Tokyo University Collection, showing Wokou soldiers raiding a Chinese coastal town. Notice the cultural flairs, like the katana swords, the yukata robes, the chonmage topknot haircut as well as an early depiction of the Hinomaru flag later used by the Meiji/Taisho/Showa Japanese along with the current Japanese government of today.

One theory as to the impetus of this sea ban is that the Ming government wanted to preserve feudalism in the face of the possibility of free trade.2 Another reason could have been because the Ming had a sense of cultural and civilizational superiority and bigoted ethnocentrism. They may have not seen the need to mix with foreigners and thought that such a thing would dilute them.3 Though, regardless of the reason, the ban became a mainstay policy for centuries in China and limited the Chinese as well as the Japanese economies. China essentially replaced its merchant class on the seas and coast with the army and navy. The trade vacuum that followed opened the door for the Europeans to enter the region as middle men.

A portion of the frontispiece to the 12th year edition of the “Book of the Celestial Supreme Lord,” commissioned by Ming Emperor Yongle, circa 1421 CE. It depicts the venerable ships of Ming Admiral Zheng He with the Chinese Taoist/Buddhist goddess of the sea, Mazu overlooking the ships in the clouds and blessing Zheng He and his men. Zheng He was a mariner and explorer, traveling throughout the South China Sea, the Gulf of Siam, the Andaman Sea, the Indian Ocean, the Bay of Bengal, The Arabian Sea and The Red Sea from 1405 to 1433. The point of his voyages was not to establish trade, conquest or seizure of resources or wealth. It was to flaunt the power, wealth and stature of Ming China to foreign rulers and also as a deterrent against piracy.

In 1543, the first Portuguese people to reach Japan arrived on a Chinese junk. The majority of the passengers onboard the junk were either Chinese or Siamese. They departed from a port in Siam, being blown off course en route to the Chinese port of Ningpo and landed on Tanegashima island off Kyushu. Among them were the famous Antonio Mota, Antonio Peroto and Fransisco Zeimoto, who introduced the European gun, the arquebus, to the Japanese. Antonio, Antonio, Francisco and the others were not traders themselves, but had deserted the Portuguese Army or Navy.4

An early 19th century Japanese bird hunter from Volume 11 of the “Denshin Kaishu” Hokusai Manga compilation, circa 1819-1834 CE. Currently housed at the British Museum.

Two of the Portuguese had loaded arquebuses with plenty of ammunition. They were eventually found hunting fowl by the Daimyo of Tanegashima named Lord Tokitaka and were summoned via a Chinese interpreter who was a passenger of the same junk named Goho (referred to by that name in the sources of 20th century Japanese historian Seiho Arima). Tokitaka asked the Portuguese men to teach him how to use such a device and give him target practice lessons. Finally, before the men departed, Tokitaka buys the two arquebuses and ammunition from them.5 6

A similar, partially fabricated story was told by Portuguese merchant and explorer Fernão Mendes Pinto. Although he believed that his party was the first to reach Japan in 1543. Pinto also believed that a member of his Portuguese crew of 5 named Diogo Zeimoto, who was fond of hunting, introduced the arquebus to the Japanese.7

The front page of a first edition Latin copy of Mendez Pinto’s memoir, “Peregrinação” (“The Pilgrimage” in English), circa 1614. A copy of this edition is also currently located in the Portuguese National Library.

In 1570 the Japanese and Portuguese created an artificial island directly off the coast of Nagasaki called Dejima. This became the central conduit of import and export in the entire nation as well as the only port of entry and temporary residence for the Europeans.

By 1603, which saw the beginning of the Tokugawa Shogunate, the majority of the ships and merchants docking at Dejima were Portuguese. As this was happening, Jesuit priests began to proselytize and convert Japanese people to Catholicism, even major leaders. According to the head of the Portuguese Jesuit Mission in Japan, Padre Valentim de Carvalho, there were around 300,000 Japanese Christians in 1600, though this could be an exaggeration.8 9 Through agreements made with Christian convert and daimyo of Nagasaki, Omura Sumitada, the Portuguese were allowed a trade monopoly in Chinese silk, which they imported from Macau.10

The lower left hand side of another separate “Arrival of the Nanbanjin” folding screen by an unknown artist, circa 1595 CE, currently housed in the Cleveland Museum of Art Collection. It shows a procession of Portuguese merchants carrying their wares along with their servants and slaves, arriving in Dejima, Nagasaki, Japan.

The general attitude among most of the Japanese was slight intrigue eclipsed by an immense fear. The Japanese, especially those north of Kyushu, referred to the Portuguese as the Nanban, which roughly translates to Southern Barbarians. This was a Japanese term borrowed from Chinese and used to refer generally to foreign traders, specifically from India and Southeast Asia.11

The top right corner of a “Arrival of the Southern Barbarians (Nanbanjin)” folding screen painting by Kanô Naizen (1570-1616), circa 1600, currently housed in the Kobe City Museum Collection, showing Christian samurai kneeling in communion during a eucharist ceremony being carried out by a Catholic priest in front of what appears to be an alter holding a portrait of Jesus Christ.

In this era, two Christian Embassies were dispatched from Japan to Europe, specifically spearheaded by Japanese Christians. Both sought to establish commercial relations with the major European powers and religious relations and affiliations with the Vatican. The first embassy was the Tensho Embassy from 1582 to 1590, which met with Pope Gregory XIII on March 5, 1585. It was funded and planned by the Christian Daimyo of Funai, Otomo Sorin and was headed by Japanese Jesuit Priest Mancio Ito.

A Western painting, Plura Seminara et Collegia Condit Intra en Extra Europam by an unknown Roman painter. It depicts Pope Gregory XIII (seated middle, under canopy) handing Mancio Ito a document with the floor plan of a new Jesuit seminary. It has the name “Japonicum” or Japan written across the top of it, a tangible recognition of Japan by Europe. Circa 1585 CE, housed at the Pontifical Gregorian University in Rome, Italy.

The second embassy set sail from 1613 to 1620. It was known as the Keicho Embassy and was headed by Japanese Christian samurai Hasekura Tsunenaga of Sendai. The embassy had an audience with Pope Paul V on November 3, 1615. Both embassies were received warmly by the Europeans and introduced the nation of Japan to many of the nations in Europe. Though, back in Japan, it must be noted that during this period there was a governmental crackdown on foreign influences, particularly targeting minority religious groups.

A Western oil on canvas painting by an unknown European artist. It shows Hasekura Tsunenaga, in Jesuit garb with a Japanese katana at his side and a rosary in his hands, praying in front of an alter displaying a crucifix. Circa 1615 CE, housed at Sendai City Museum Collection in Miyagi, Japan.

In June of 1636, the Tokugawa Shogun, Tokugawa Iemitsu, gave his landmark Sakoku Edict. This edict was essentially a ban on the Portuguese and the Spanish, mainly due to their religious beliefs which were previously allowed to spread in the country.12 Also the Japanese, on pain of death, were banned from leaving Japan. Regarding trade, moving forward, the only Europeans the Japanese would trade with would be the Dutch. This is because the Dutch did not carry out missionary work in Japan. Also, the Dutch were only allowed at Dejima in Nagasaki and would be executed if they trespassed.13 14

The Shogunate’s bans on Christians led to the 1636 to 1639 Shimabara Rebellion led by Japanese Christian samurai Amakusa Shiro. The rebellion was ultimately crushed and Amakusa himself was executed. The rebellion led directly to the Japanese isolationist principle, similar to the Chinese Haijin, called Sakoku (鎖國) meaning “a country in chains” or more precisely “locked/closed country”. The term was coined in 1801 by Japanese translator of Dutch works into the Japanese language, Shizuki Tadao. The term specifically derived from “Sakoku-ron” (鎖國論) the title of Tadao’s manuscript translation of the 6th appendix to the Dutch work, De Beschryving van Japan written by 17th century Low German physician, botanist and traveller Engelbert Kaempfer.15 Originally published in 1727, the work gives a history of Japan as well as accounts of Kaempfer’s time in Dejima as part of the Dutch East India Company and his two trips to the capital city, Edo.16 17 Kaempfer’s work was the final mainstream exposure Europe would have to Japan for 200 years.

A diagram drawn by Engelbert Kaempfer, included in his book De Beschryving van Japan, compiled posthumously after his death. In the book it is known as “Diagram 22“. It shows Kaempfer on horseback being led by his Japanese interpreter and guide Imamura Eisei in a caravan procession to meet Shogun Tokugawa Ienobu. This event happened in 1691, when Kaempfer was 40 years old.

Because of Sakoku, throughout the 18th century and the first half of the 19th century, Edo Japan became increasingly isolated from the rest of the world. From 1636 to 1854, they maintained minimal diplomatic and trade relations. Notable relations were kept with the Chinese, the Dutch, the Ainu, the Ryukyuans and the Koreans.18 There was little mention of Japan during this period in the West. In terms of Western exposure to the Far East: India, China, Indochina and Oceania were the major topics of fascination, portrayed as exotic conquered and besieged lands with ancient wisdom and a fervent religious zeal (see Edward Said’s book Orientalism).

Dejima, as stated before, was a man made island off the coast of Nagasaki created in 1570 to contain the Portuguese. By the 17th and 18th centuries, the main occupants of Dejima were the Dutch who took over the niche that the Portuguese once had as middle men. Severe punishments would be given to those foreigners who tried to cross from Dejima to Nagasaki. Notably, cooks, merchants, tradesman and the yujo (Japanese pleasure women) were allowed into Dejima from Japan. Other Japanese nationals were forbidden from entering Dejima. This routine lasted for quite a while.

A Japanese Ukiyo-e painting by an unkown painter. It shows a Dutch factory on Dejima and recreational scenes of Dutchmen lounging, playing billiards and drinking alcohol. Circa late 18th century CE. Currently housed at the British Museum.
A Shunga woodblock print copy by Chokyosai Eiri copied from a work by Japanese artist Kitagawa Utamaro from his series Fumi no kiyogaki, circa 1801, housed at the British Museum. It shows a yujo courtesan embracing a swarthy Dutchman.

The first crack in the wall of Sakoku began in 1808. In Europe at this time, the French Empire, under Napoleon Bonaparte, had just annexed the Kingdom of Holland. A naval war broke out between the British and the French. Britain tasked Captain Fleetwood Pellew to implement a hostile takeover of all Dutch mercantile shipping into Japan. Pellew held several Dutch hostages and demanded supplies from the Japanese and the Dutch. Edo’s cannons and overall firepower was old and outdated compared to the cutting edge British battleships like Pellew’s HMS Phaeton. This caused a great panic on the Japanese side. Luckily, however, Pellew departed without a fight once he realized that Dutch shipping would not be arriving that season.

A British painting titled Captain Fleetwood Pellew commanding H.M. Ship Terpsichore against Dutch vessels in Batavia. Circa May, 1807, by British artist George Chinnery. Housed at Royal Museums Greenwich.
A Ukiyo-e painting by an unknown Japanese artist. It shows the British warship, the HMS Phaeton in front of Nagasaki Harbor, circa early 19th century. Currently housed at the Nagasaki Museum of History and Culture.

Because of Pellew’s breach, Japan tightened Sakoku even further. It was the consequences directly after the removal of this tense blockade which caused the love and interest in Japanese culture to resurge majorly in the West. Sakoku’s breaking point happened after the Black Ships Incident on July 8, 1853. For context, as we know, the Tokugawa Shogunate was stubborn in its isolationist principles. Prior to the 1853 Incident, Japan was urged by the Netherlands several times to open up its country to foreign, specifically European, trade. Japan rejected these pleas vehemently.

A portion of one of the Black Ship Scrolls. It was made by an unknown Japanese artist. (Hand scroll, ink and color on paper) It portrays the exaggerated features of Matthew C. Perry as seen by a Japanese person. The drawing includes another head portrait of Perry’s second in command, Commodore Henry Allen Adams. The scroll was created at the Convention of Kanagawa in March, 1854. It is currently housed at the Honolulu Museum of Art. Note that both Perry and Adams are portrayed similarly to tengu, oni or akuma demons in Japanese folklore.19
Another Black Ship Scroll by an unknown Japanese artist. It shows a contingent of the American Army marching in demonstration during the Convention of Kanagawa, circa March 1854. Currently held in the William H. Hardy Collection.

Meanwhile, the United States, under President Millard Fillmore, sent Commodore Matthew Perry and a small contingent of the US Navy in order to break Edo Japan’s blockade. Perry and his armada of coal-powered, steel steamships absolutely terrified the Japanese. Perry ignored the calls by the Japanese to dock at Dejima and threatened to sail to Edo and burn the capital to the ground. Perry finally made an agreement with the Japanese and was granted to land at Kurihama in the city of Yokosuka. Perry stayed briefly, delivered a letter from the President of the US, Millard Fillmore, to the Emperor Komei, and departed. Perry’s letter was cordial and requested politely that Japan open up trade with the United States. This led to Perry’s return in 1854 for the Convention of Kanagawa and the signing of the Kanagawa Treaty which gave the US a full trade agreement with Edo Japan.20

The Americans did not initially understand the power structure of Edo Japan. This is markedly clear in the President’s issuance of the letter to Emperor Komei instead of the Tokugawa Shoguns Ieyoshi or Iesada. Perry and his men were at times shocked by Japanese culture, but, on the whole, they were somewhat intrigued and impressed.21 According to his journal entries, namely, one dated July 14, 1853, American interpreter of the Japanese language, Samuel Wells Williams, who was a member of the Perry Expedition, believed that many in Japan were very much welcoming the idea of opening up.22 Before the Perry Expedition, Williams was part of the Morrison Expedition of 1837, which tried and failed to get Japan to open up to American trade.

A drawing of Samuel Wells Williams by Japanese artist Osuke Hinata (1813-1870). This portrait was made in 1853 and is currently housed at the Sanada Treasure Museum in Nagano, Japan.
A drawing of Commodore Matthew C. Perry by Japanese artist Osuke Hinata (1813-1870). This portrait was made in 1853 and is currently housed at the Sanada Treasure Museum in Nagano, Japan.
A clipping from a Kawaraban broadside, circa 1853. A Kawaraban is analogous to a western newspaper. It gives visual, illustrative as well as textual descriptions of news updates. This particular edition shows one of Perry’s American steamships as it first entered Edo Bay. Notice the paddle wheel on the side, the billowing smoke and the stars and stripes of the American flag.
A photograph, taken by the company McPherson & Oliver of Baton Rouge, Louisiana, circa 1863. It shows the USS Mississippi, one of the American ships assigned to the Perry Expedition of 1853. It was used by the Union Navy during the American Civil War (1861-1865) until it met its demise in 1863 when it ran aground in Port Hudson, Louisiana. It was attacked by Confederate artillery and was ultimately set ablaze and burned to ashes.

The Americans had learned their lessons from Morrison and decided to use gunboat diplomacy this time. The Japanese people were absolutely floored and taken aback by the great advancements the Americans exposed them to in 1853 and 1854. Many, including future members of the anti-shogunate renegade groups, including the Ishin Shishi, began to question the Sakoku isolationist principle as well as the legitimacy of the Shogun. This began the Bakumatsu, a period which lasted from 1853 to 1867 in which Edo Japan gained diplomatic ties with the world and modernized itself. In 1868 the Boshin War broke out. It was a giant civil war to end the Shogunate and reinstall the Emperor. This lasted from January 27 to June, 1868 and ultimately saw the ouster of the Tokugawa regime. It also allowed for the reinstallation of the Emperor as the sole head of state and god incarnate instead of just a hollow figurehead with no real political power.

A photograph of Hijikata Toshizo (1835-1869), a commander in the Tokugawa loyalist group, the Shinsengumi (1863-1869). The Shinsengumi acted as a police force in the final stages of the Tokugawa regime’s hold on Japan. He took part in major battles against the Imperial forces during the Boshin War and died defending the remnants of the Shogunate in Ezo. Note Toshizo’s modern Europeanized look as compared to other samurai. This photo was taken by Tamoto Kenzo and is dated pre-1869, which was the death year of Toshizo.
A photograph of Edo officers, circa 1869, taken by Austrian photographer Wilhelm Burger (1844-1920).
A photograph of Sakamoto Ryoma (1836-1867), circa 1866, taken by Japanese photographer Ueno Hikoma. Ryoma was a legendary ronin and a member of the Ishin Shishi. As a youth, he was greatly effected by the Americans at the Convention of Kanagawa in 1854. He envisioned a democratic, meritocratic Japan, free of all feudal elements. Ryoma frequently broke traditional Japanese feudal codes, including clan desertion. He was a fan of the humanist constitutions of Britain and the US.

The second half of the 19th century saw the opening of Japan to the West and thus began the first wave of Western Japanophilia. This includes the birth of Japonisme and its contribution to the Impressionist and Post-Impressionist art styles in France, Belgium, the Netherlands and Britain. Translators like the Greek-Irish Lafcadio Hearn introduced the West to Japanese folk tales and stories. In 1867, the American physician and Presbyterian missionary James Curtis Hepburn devised the romanization of the Japanese language. This era also saw the first Western travelers into the interior of Japan like Jules Brunet and Algernon Mitford. The first photographs were taken in Japan in the mid-to-late 19th century by the likes of Japanese and Western photographers, journalists, surveyors and early anthropologists. These include Ichiki Shiro, T. Enami, Tamoto Kenzo, Felice Beato and Benjamin Smith Lyman to name a few. Later, in the 20th century, the Anglophone world would be introduced to the Haiku, through its popularization by British writer and Japanophile R.H. Blyth.

La courtisane by Dutch artist Vincent Van Gough (1853-1890), circa 1887. It shows a hanging scroll of an oiran among shoots of bamboo and a pool of lilies with frogs and cranes. This portrait is styled after works by Japanese Ukiyo-e artist, Keisai Eisen. It is currently housed at the Van Gough Museum in Amsterdam.
Iconic French Post-Impressionist painter Henri de Toulouse-Lautrec (1864-1901), known for his outlandish antics, in a Japanese kimono, wearing a kanmuri hat and posing as a crosseyed Japanese man. Circa 1892, by an unknown photographer. From the collection at the Toulouse-Lautrec Museum in Albi, France.
A photograph of Greek-Irish translator of Japanese folktales, Lafcadio Hearn (1850-1904) in Japanese dress. This photo was used as the frontispiece of volume ii of Hearn’s 1906 biography The Life and Letters of Lafcadio Hearn by American writer and journalist Elizabeth Bisland.

During the turn of the century period, Japan shocked the world with military victories against major superpowers like Qing China in 1895 and Imperial Russia in 1905. Japan, under the Emperor Meiji, conquered Ezo in 1870 and renamed the island Hokkaido. They conquered all of Ryukyu by 1879 and Iwo Jima in 1887. In their war with Qing China, they took Formosa (known today as Taiwan) in 1895. In 1905, during their war with the Imperial Russians, the Japanese took the southern portion of Sakhalin island. In 1910, they annexed Korea and continued this trend especially after the Allied victory of World War I, of which Japan was on the victorious Allied side. Western powers essentially gave Japan free reign to do what it wished. This led to numerous war crimes and crimes against humanity committed in the 1930s and 1940s; the main phase starting in 1929 with the renaming of the Japanese Army to the Imperial Army. This Imperial phase includes the cruel, unusual and disgusting summary torture, execution and mass killings of prisoners of war, the use of the Kempeitai secret police in conquered areas, the forced human experimentation on Chinese POWs by Imperial Surgeon General and despicable, depraved, evil mad scientist Shiro Ishi, the comfort women (the majority of whom were Korean or Chinese, but also included Filipino, Malaysian, Taiwanese, Indonesian, Dutch and British women as well), the 1931 Japanese false flag Mukden incident and the Japanese Invasion of the Chinese city of Nanking in 1937 to name only a few of the crimes perpetrated.

The Japanese Empire at its greatest extent, circa 1941 CE.

Needless to say, Japan enters World War II on the losing Axis side and is conquered fully by the Americans in 1945. The Americans occupied Japan from 1945 to 1952 and completely overturned the cult of the Emperor. American Commander Douglas MacArthur along with the Japanese government, which was newly formed by the Americans, created the modern Japanese constitution. Japan, despite being a Far Eastern Asian nation, became a fixture of the West, the Western Mind and Western modernity. They continued to be an active part of the first world, though their sense of nationalism was neutered and they were not allowed to have an independent standing army.

A photo, dated September 5, 1945, taken on the American battleship, the USS Missouri. It shows the Imperial Japanese Foreign Minister, Mamoru Shigemitsu, seated at a table, signing the Instrument of Surrender on behalf of the Imperial Japanese Government. Lieutenant General of the US Army, Richard K. Sutherland, looks on as he stands in front of Shigemitsu. US Army General, Douglas A. MacArthur, stands behind the microphone as dignitaries stand as audience behind him.

This begins the second phase of Western Japanophilia known as “Cool Japan”. This term was coined in the 1980s by the Japanese government in response to the success of Japanese soft power in the form of pop culture, particularly through adapted television shows, gaming and electronic corporations like Sony, Panasonic, Nintendo, Sega, Bandai, Namco and Konami as well as vehicle and machine manufacturers like Honda, Yamaha, Kawasaki, Toyota, Mitsubishi, Hitachi and Nissan. Soft power was also created majorly through the proliferation of Japanese comic books known as manga from publishers like TOKYOPOP, Kodansha, VIZ and Shueisha along with anime studios like Toei Animation, TMS and Studio Ghibli. Keep in mind that the 1980s also marks the beginning of deindustrialisation in the West. Japan essentially became the West’s idealized reflection, even though economic prosperity and an aging and dwindling population negatively effected Japan. Notwithstanding, as the West began to experience decline, Japan catered to it with amazing soft power.

A still from the 1983 Japanese television series Oshin. Similar to many other programs in the 1980s, Oshin got worldwide syndication, starting with Singapore in 1984 and moving on to other nations in the coming decade. This was the first Japanese broadcast to be syndicated to a foreign nation. Oshin’s popularity skyrocketed worldwide via reruns. The show’s syndication displayed the primacy of Japanese media and how addictive it could be.23
A still from the first episode of the Japanese kids action series Hikari Sentai Maskman (1987-1988) which was itself one in a number of spinoffs of the original series Himitsu Sentai Gorenger (1975-1977). All of these shows make up a media franchise known as Super Sentai. In 1984, Israeli-American producer Haim Saban, famously, while on a business trip to Japan, was exposed to a Super Sentai show called Choudenshi Bioman. Saban, who saw Super Sentai’s potential in an American market, began to pitch the concept of a Sentai copy. In 1986 he and his associate Shuki Levy came up with Bio-Man, a Sentai clone. It was turned down by every network they pitched it to. Though Saban stuck to his idea, and in 1992, with the help of the higher-ups at Fox Kids, Mighty Morphin’ Power Rangers aired and gained a cult following.
An undated, pre-1982 photograph of the late great manga author Akira Toriyama (1955-2024), with his trusty pen, which he allegedly used for 51 years continuously, a ruler and a bottle of ink on his head. Toriyama was the creator of the Dragon Ball franchise. 1980s manga and anime series like Dragon Ball, Vagabond and Fist of the North Star along with anime movies like Akira and Studio Ghibli’s My Neighbor Totoro and Kiki’s Delivery Service were also syndicated worldwide and helped bring anime and manga to Western attention.

With the advent of the internet in the late 1980s and YouTube in 2005, many westerners from America, Canada, Europe and Australia began to record and upload their travels to Japan or their experiences living in Japan. Children from the cusp Xenennial generation as well as the Millennial and Gen Z generations, from the mid 1970s to the 2000s, grew up watching Anime on Saturday morning or Saturday evening cable television or sometimes public television. This was further expanded with the advent of internet streaming services in the early 2010s. Services like Netflix, Crunchyroll and Hulu allowed users to binge their favorite shows anytime and, with the invention and introduction of smartphones in 2007, anywhere they wanted. Regarding the massive video game market, Japan capitalized early, starting with the Atari 2600 in 1976, Japan began releasing further video game consoles including the Nintendo Entertainment system in 1985, the Sega Genesis in 1989 and the Sony Playstation in 1995. All of this also had a profound effect on those generations in the West.

A still from a video recorded in 1985. It shows Nintendo Designer and Assistant Director Takashi Tezuka, working on the character design of Mario for the game Super Mario Bros. Mario was a reskin of the main character Jumpman from an earlier Nintendo game released in 1981 called Donkey Kong. Nintendo franchises like Mario, Donkey Kong, The Legend of Zelda, Metroid, Mario Kart, Mario Tennis and Super Smash Bros. are some of the most popular video game series of all time.
A photo clipping from a 1986 edition of the Technopolis Company magazine. It shows Sakaguchi Hironobu, the Director and Creator of Final Fantasy, a JRPG (Japanese Roleplaying Video Game) developed by the Japanese video game company Square. Despite Japan’s initial hesitance and fear that the Western gamer would not understand JRPGs, the Final Fantasy franchise became one of the longest lived and most successful JRPG franchises, with a rabid fanbase across the Western world.

Cosplay, a Japanese portmanteau of the English words “costume” and “play”, saw a massive surge in popularity in the West, starting in the late 1990s. Dressing up in costumes and going to conventions has been a niche interest in the West since the popularization of the science fiction, gothic, fantasy and horror literary genres starting at the turn of the 20th century. With the advent of the motion picture industry, the popularity of these costume conventions grew dramatically. Though, it was not until the mid to late 1990s that dressing up as anime characters became common. This was through the massive influence of legendary anime series like Dragon Ball Z, Sailor Moon, Cowboy Bebop and Pokemon, which were syndicated and adapted from Japan to Western nations.

A kendo lesson at Anime Wichita 2014. Taken June 28, 2014 in Wichita, Kansas.
A photo of the crowds at Campinas Anime Fest in Campinas, Brazil. Taken on April 9, 2017.

Around 2006, a new term began to be used mainly in American forums, for a western white person who was obsessed with Japanese pop culture; the term weaboo. According to Dictionary.com and Knowyourmeme.com, it was coined by author Nicholas Gurewitch as a nonsense term in his 2005 webcomic known as The Perry Bible. Snippets of the webcomic were posted onto problematic forum site 4Chan. Up until that time, 4Chan users and internet trolls in general were using the colloquial pejorative wapanese (mixing wannabe or white and Japanese) to insult white people overly fond of Japanese culture to an annoying, pitiful and culture-vulture-like degree. This caused heated exchanges between anime and manga fans and trolls. The abuse became so rampant that 4Chan web moderators began using a keyword filter to replace the pejorative wapanese anytime anyone typed it with the nonsense term weaboo. Weaboo became a new popular alternative to wapanese and it quickly spread all over the internet as a meme. The term and its popularity was similar to the term wankster (originally coined as wanksta; a pejorative from African American English dialects meaning wannabe or white gangster) which was popularized in 2002 by American rapper 50 Cent in his song of the same name. Internally, Japanophiles referred to themselves as otaku, which is a Japanese term for a pop culture enthusiast or consumer. As a term, weaboo began to gain ground as Japanese soft power did in the Western mainstream. It gained so much popularity that it began to be used to also describe Western Japanophiles who were not white. By the mid 2010s, the term weeb, a descendant of weaboo via word clipping, became overwhelmingly popular and was also used self referentially in an ironic way by many western otaku.

A clip of The Perry Bible which shows the genesis of the term weaboo, originally spelled “weeaboo”.

That is all to say, that the American government, and specifically World War II American commanders Douglas MacArthur and Matthew Ridgeway, are to blame for weaboos in the West. Specifically their actions in the reconfiguring of the major conglomerates, known as the zaibatsu. These zaibatsu, pre-1945, were leveraged by the Emperor when making his decisions and implementing the army draft or collecting taxes. The US would allow major industrialization in Japan as an ace in the hole in America’s fight against the communists, i.e. the Soviets and the Maoist Chinese. The second sin was the introduction of free market capitalism and consumerism. The third culprit is Chapter II Article 9 of the MacArthur Constitution which completely and absolutely prohibits Japan from possessing an Army, Navy, Air force or any other national armed force. Also Japanese culture is inherently cool and amazing, so it’s no wonder that weaboos exist, as cultural confusion of some sort or another exists in all multicultural western nations.

Works Cited

  1. “Hong-wu: Year 4, Month 12, Day 3 – Hong-wu: Year 5, Month 1, Day 4” Ming Shilu, Translated by Geoff Wade, (Singapore: Asia Research Institute and the Singapore E-Press, National University of Singapore, 2005. Originally Compiled in 1491 by Liu Chi), http://epress.nus.edu.sg/msl/reign/hong-wu/year-4-month-12-day-7 ↩︎
  2. Ivy Maria Lim. From Haijin to Kaihai: The Jiajing Court’s Search for a Modus
    Operandi along the South-eastern Coast (1522-1567)
    , (Journal of the British Association for Chinese Studies, Vol. 2, July, 2013), p. 2 ↩︎
  3. John Fairbank, Edwin Reischauer & Albert Craig. East Asia : Tradition & Transformation, (Boston: Houghton Mifflin Co., 1989), p. 178-179 ↩︎
  4. Aimé Humbert. Japan and the Japanese, Translated by Frances Cashel Hoey. (Cambridge, England, UK: Cambridge University Press, 2016. Originally Published in 1874), p. 51 ↩︎
  5. Noel Perrin. “Chapter One,” Giving Up the Gun: Japan’s Reversion to the Sword, 1543-1879, (Boston: D.R. Godine, 1979), p. 5-6 ↩︎
  6. Arima, Seiho. The Origin of Firearms and Their Early Transmission, (Tokyo:
    Yoshikawa Kobunka, 1962), p. 615-633 ↩︎
  7. Fernão Mendes Pinto. “How Firearms Came to Japan,” The Travels of Mendes Pinto, Edited and Translated by Erica D. Catz, (Chicago & London: The University of Chicago Press, 2014. Originally Published as Peregrinação in Lisbon in 1614), p. 321 & 480 ↩︎
  8. C.R. Boxer. “The Palm of Christian Fortitude”, The Christian Century in Japan: 1549-1650, (Los Angeles: University of California Press, 1967), p. 321-440 ↩︎
  9. Valentim Carvalho. Apologia of Japan, Edited by José Eduardo Franco, (Lisbon & Macau: Macau Scientific and Cultural Centre, 2007, originally written in 1617) ↩︎
  10. R. H. Hesselink. “A Man for the Jesuits: Omura Sumitada,” in The dream of Christian Nagasaki : world trade and the clash of cultures, 1560-1640, (Jefferson, North Carolina: McFarland & Company, Inc., 2015), p. 44-45 ↩︎
  11. Mihoko Oka. “Introduction”, The Namban Trade: Merchants and Missionaries in 16th and 17th Century Japan, (Leiden ; Boston: Brill, 2021), p. 10 ↩︎
  12. Joseph Cummins. “The Shimabara Uprising,” History’s Great Untold Stories
    Larger Than Life Characters & Dramatic Events that Changed the World
    , (Washington D.C.: National Geographic, 2006), p. 89 ↩︎
  13. C.R. Boxer. “The Sakoku Edict”, The Christian Century in Japan: 1549-1650, Translated by C.R. Boxer, (Los Angeles: University of California Press, 1967. Originally Published in 1636), p. 439-440 ↩︎
  14. Mark E. Cunningham & Lawrence J. Zwier, “The Christian Threat,” in The End of the Shoguns and the Birth of Modern Japan, (Minneapolis: Twenty First Century Books, 2013. Originally Published 2009), p. 17-22 ↩︎
  15. Hiraishi Naoaki. “E. Kaempfer’s Treatise on Japan’s Policy of Seclusion
    and Its Influence on Japan’s Decision to Open the Country
    ,” (Tokyo: Humboldt University of Berlin, 2008) p. 170-175 ↩︎
  16. Christopher Joby. The Dutch Language in Japan (1600-1900)
    A Cultural and Sociolinguistic Study of Dutch as a Contact Language in Tokugawa and Meiji Japan
    ,
    (Leiden ; Boston: Brill, 2021) p. 289-293 ↩︎
  17. Donald Keene. “The Call of the West,” The Japanese Discovery of Europe, 1720-1830, (Stanford, California: Stanford University Press, 1969), p. 76-78 ↩︎
  18. Michael S. Laver. “Prohibitions on Japanese Travel Abroad,” The Sakoku Edicts and the Politics of Tokugawa Hegemony, (Amherst, NY: Cambria Press, 2011) p. 36-39 ↩︎
  19. John W. Dower. “Chapter Two: Perry,” Black Ships & Samurai: Commodore Perry And The Opening of Japan (1853-1854), (Boston: Massachusetts Institute of Technology, 2008) p. 6 ↩︎
  20. “Treaty of Amity and Commerce between the United States of America and the Empire of Japan (Treaty of Amity and Commerce, Harris Treaty),” (“The World and Japan” Database at The University of Tokyo, Tanaka Akihiko, Published online, Originally Published 1858) ↩︎
  21. Daivd G. Wittner. “The Opening of Japan,” Commodore Matthew Perry and the Perry Expedition to Japan, (New York: The Rosen Publishing Group, 2005) p. 91 ↩︎
  22. Samuel Wells Williams. “Wednesday, Jul. 13,” A Journal of the Perry Expedition to Japan (1853-1854), (Shanghai: Kelly & Walsh, 1910), p. 58 ↩︎
  23. Kazuo Takahashi. The Impacts of Japanese Television Programs : World wide “Oshin Phenomena” (Tokyo: Tokyo Univerisity Repository for Academic Research, 1998) ↩︎

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