Category: Event Calendar

Japan’s top-paid professional cosplayer, Enako, shows off her huge collection of over 400 costumes in her latest video.

Japan’s top cosplayer, Enako, revealed a look at her room for cosplay, which houses over 400 costumes.

The 27-year-old professional model and cosplayer led a tour of her massive “cosplay room,” which resembles a small warehouse, in a new video on the Japanese Business Drive YouTube channel. Although Enako hasn’t counted the total number of costumes she’s collected however, she estimates she has between 400-500 costumes which she has been wearing too numerous conventions as well as photo shoots. To keep the vast collection of costumes organized, they are required to be properly stored in clear containers.

RELATED: Why Fanservice Enthusiasts and Cosplay fans will Love My Dress-Up Beautiful

This video is primarily about Enako’s experiences as a professional cosplayer. She discusses the day-to-day activities of her profession as well as the negatives of her work, such as fighting online bullying and online trolls. She also states that she’s a huge fan of Keisuke Itagaki’s underground fighting series, Baki the Grappler.

Enako began cosplaying in 2012. Events and conventions now pay the actress to perform. It has been reported that she earns more than the equivalent of USD 90,000 a month. When she was at Comiket the largest anime convention in Japan convention in 2019, she attracted thousands of photographers who wanted to take photos of her RE: Zero cosplay. In the past, she was commissioned by a mobile gaming firm to be Attack of Titan’s Mikasa Ackerman. Alongside her cosplaying she also has gained an audience through her video game streams which she is usually seen playing multiplayer shooters such as Apex Legends and Rainbow Six Siege.

Related: Viral X Men Co-Star Jade Cargill is Now a Record-Setting AEW Champion

Even though many conventions were relocated or canceled over the last two years because of the COVID-19 epidemic that is currently sweeping the globe, talented cosplayers around the globe have been able to make breathtaking costumes. Another Japanese cosplayer Chiba_2_2 showed off their screen-accurate take on Tokyo Revenger Manjiro Sante. Jahara Jade, the creator of the content, managed to cosplay the entire nine Sailor Moon Scouts within a single year. Enako isn’t the only professional cosplayer; Momo Tomomoto is a fitness model who recently displayed her love for Jujutsu Kaisen’s Cursed weapon expert Makizen’in by wearing two new costumes.

Hange takes charge of the Survey Corps once again in an updated set of cosplay photographs that give a fresh look at the compassionate leader.

Hange Zoe Returns in a new set of Attack on Titan cosplays.

SPOILERS FOR ATTACK ON TITAN FOLLOW:

Sierra, a model, and cosplayer who goes by the Instagram screenname @waifucece created an updated version of Hange. Hange was portrayed by the cosplayer wearing their typical Survey Corps uniform and their post-time skip anti-personnel maneuver gear. A few of the photos show the leader riding on horseback.

Related: Attack on Titan Cosplay Mikasa’s Outfit Post-Timeskip for Battle

More of Sierra’s Attack on Titan cosplay can be viewed on their Instagram profile where the multi-talented cosplayer has also portrayed Neon Genesis Evangelion‘s fiery pilot Asuka Langley Sohryu as well as Jujutsu Kaisen‘s most powerful sorcerer Satoru Gojo.

Hange Zoe was first introduced in Volume 3’s Attack on Titan manga. They were the eccentric titan researcher of the Survey Corps. The inventor and scientist were notable for their empathy for the series’ massive monsters, an uncommon trait in the world’s protectors. Hange was appointed the commander of the division after the death of Commander Erwin Smith and most of the Survey Corps forces at the Battle of Shigashina. He was instrumental in rebuilding the fighting force into the combat force that plays an important role in the conflict against Marley and other dangers to humanity throughout the second part of the series.

RELATED: Attack on Titan Reveals What Eren Was Seeing when he kissed Historia’s hand

Attack on Titan is a manga that creator Isayama Isayama developed in 2009. The series has become one of the largest manga and anime franchises to come out of Japan over the past 20 years, with the manga achieving a circulation of over 100 million copies around the world. The anime adaptation was first made available in the year 2014. The original production was by Wit Studio (Ranking of Kings and Vivy: Fluorite eyes’ Song) However, the production was transferred to studio MAPPA (“Jujutsu Kansen, Yuri!). on Ice) for the show’s fourth season and the final. The original manga written by Isayama came to an abrupt halt in 2021. The public and the critics had mixed reactions to the final chapter. The divisive end to the manga has hurt the anime’s popularity, however, as the very first episode of Attack on Titan, The Final Season Part 2 was released on Jan. 9 and was able to instantly result in the streaming site Crunchyroll crash due to the massive demand on its servers. MAPPA has released new artwork from the series in conjunction with the premiere of each episode in the final half-season, the most recent episode was concentrated on Eren, Zeke, and Grisha Jaeger.

The past seasons of the anime are on a variety of streaming services, such as Crunchyroll or Funimation. Kodansha USA is now offering the complete manga series in English.

Cosplayer Caitlin Christina Cosplayer Caitlin Christina brings Scarlet Witch to life ahead of the Avenger’s appearance in Doctor Strange 2 in a spectacular performance.

In this cosplay that is infused with magic Scarlet Witch, a Marvel fan is ahead of Doctor Strange from the Multiverse of Madness.

Marvel fan and cosplayer Caitlin Christine posted photos of her impressive Marvel Cinematic Universe cosplay on Twitter. The outfit was inspired by Wanda Maximoff’s appearance in Doctor Strange. The Scarlet Witch’s powers are on full display by gliding across a damaged hallway, conjuring powerful energy bolts as she contemplates the mysteries of the esoteric contained within the tome known as the Darkhold.

Related: Doctor Strange 2 Listing reveals the film’s Horror Elements

The costume of Scarlet Witch in costume is amazing compared to the MCU wardrobe. Christine recreates Maximoff’s most recent appearance wearing red leather and fabric from head to the toe. Maximoff’s transformation from a psionic powerhouse into her present job as a mystical practitioner is revealed through the props, such as the Darkhold and candles. It all comes together with special effects that reveal windows being shattered by the force of Maximoff’s power as well as swirling wisps of magic, and the power to cause chaos at her fingertips.

Maximoff’s powers, origins, and her first appearance Maximoff’s origins, powers, and early appearance in Marvel Cinematic Universe are a departure from her comic book origins as the superhero with a hex. As she was a Sokovian refugee from the movies her twin brother, Pietro Maximoff, gained their powers because of experiments conducted by Hydra. The Mind Stone was used to uncover the twins who were able to achieve rapid growth in mental abilities such as Telekinesis, telepathy, and other degrees of mind manipulation.

Related: How does the Illuminati Confirmation change Doctor Strange 2 Expectations?

The loss of Vision during Avengers: Infinity War caused an explosive growth in her powers. Through the events of WandaVision in the film, she is shown manipulating the space of reality according to her wishes and imagination. As this reality-warping escalates, it is revealed that her family members possess latent magical potential as well as the exposure to the Mind Stone enhanced its ability exponentially. She is transformed into the prophesied Scarlet Witch, after a one-on-1 battle against Agatha Harkness.

She brings the Darkhold with her and begins to study the art of magic. Being a fully-fledged master of the mysterious arts and a wielder of chaos magic, Scarlet Witch–or at least the version she’s in–appears to be more in control of her abilities. Doctor Strange will seek out her help in the upcoming film, which will require the Scarlet Witch and the Sorcerer Supreme and Scarlet Witch to fight variants of themselves as well as other threats within the Multiverse.

Scarlet Witch, played by Olsen, will appear in Doctor Strange in the Multiverse of Madness alongside Benedict Cumberbatch’s Doctor Strange. The film will be released on May 6, 2022.

Jolyne Cujoh’s voice actor from England Kira Buckland displays a stunning portrayal of Stone Ocean’s protagonist at this year’s Anime Expo.

Actress Kira Buckland demonstrated her love for Jojo’s Bizarre Adventure‘s Jolyne by playing Jojo’s Bizarre Adventure’s Jolyne.

Buckland who played Cujoh in Netflix’s English version of the show was seen in costume at Jojo’s Bizarre Adventure panel at this year’s Anime Expo in full cosplay. Fabrickind is a professional actor who created the character’s costume using a Diana Soreil wig. Buckland has been a long-time fan of the show and has cosplayed as Jolyne in the past, long before she was cast as the character. She said was “the biggest dream role of my career.”

Related: Jojo’s Bizarre Adventure’s Initial Six Heroes Come Together for the first time in Event Art

Buckland is known for her part in the role of the Stone Ocean rebellious hero. She has also starred in many other anime shows, including Edens Zero and To Your Eternity. Additionally, she was a star in the Netflix dub Kakegurui, Komi Can’t communicate. Jojo is also a part of the shonen-based anime megahit Demon Slayer: Kimetsu No Yaaiba. She portrays the role of Love Hashira Mitsuri Kanroji. She will take on a major role in the adaptation of the anime of Swordsmith Village. A variety of her cosplays can be found on her Instagram page and she has appeared as a character from the Homestuck and Legend of Zelda franchises.

Buckland will reprise her role as Jolyne in Jolyne’s role in the Stone Ocean anime’s second part. The next episode of Stone Ocean anime will be available on Netflix at some point in the autumn. The long-awaited adaptation of the anime of the sixth arc of the saga premiered in December. The show is currently released in Japan regularly, by Netflix and Warner Bros. Japan will release the next set of episodes globally in 12 episodes every week. The show is set in the year 2011, and Stone Ocean moves the setting of the series to everyone’s favorite state, Florida which is centered around Jolyne Cujoh, the daughter of Stardust Crusader’s beloved hero Jotaro Kujo. Jolyne is sent to prison for a crime she didn’t commit, and when she is released she’s entangled in the family’s ongoing battle against Dio Brando and his followers.

Related: Jojo’s Bizarre Adventure Heroes Unite in Generation-Spanning Anniversary Art

Stone Ocean’s original manga was released in 1999. It ran until 2003. Hirohiko Araki’s ongoing epic wrapped up Part 8 of the series, Jojolion, in 2021 and is currently suspended while Araki is off and begins work on Part 9 of the series, which is tentatively called “Jojolands.” The series is in the process of commemorating its 35th anniversary through several Jojo-themed exhibitions in Japan, and Araki was also a part of the 40th-anniversary celebrations coming up for Akira Toriyama’s Dragon Ball series by contributing some artwork for a commemorative event that publisher Shueisha will host.

Netflix offers Jojo’s Bizarre Adventure animated series.

Fabibi World Cosplay presents the Snake Princess Boa Hancock in an amazing cosplay that recreates his outfit from One Piece: Stampede.

Professional cosplayer Fabibi World Cosplay captured the drama and beauty of ‘s pirate warlord Boa Hancock in a stunningly intricate cosplay.

Pictures of the almost-perfect costume were shared on the cosplayer’s Instagram. Although the Snake Princess has worn many extravagant outfits throughout the movie This cosplay is specifically based on the wardrobe she donned in the 2019 movie, One Piece: Stampede, including her vibrant purple sash, and her trench coat with a military theme. Fabibi World Cosplay captures Hancock’s charismatic personality in the images.

Related: One Piece Theorie: Shanks Could Be Luffy’s Greatest Opponent Yet

The impact of One Piece

One Piece is an essential element of both the manga/anime world as well as the larger pop-culture scene. The hugely popular series began in 1997 when Eiichiro Oda began publishing his beloved manga in Shueisha’s Weekly Shonen Jump; the ongoing series has well over 1,000 distinct chapters. With more than 516 million copies in circulation all over the world, One Piece is the best-selling manga ever. The tale follows Monkey D. Luffy’s adventures. He is a young pirate who has a rubber body. He has dreams of becoming the next King. Luffy, along with his diverse crew, travels across the Grand Line to search for the treasure. It was hidden by Gol D. Roger, the first King among the Pirates.

The 14th feature film in the One Piece movie series, Stampede was created to celebrate the 20th anniversary of Toei Animation’s anime series. In it characters, pirates from all over the globe, and even Luffy and his crew gather at the Pirates Expo to join a hunt to find Roger’s treasures. The film earned over 10 billion dollars (roughly USD 93 million) worldwide and performed generally well in the eyes of critics.

RELATED: One Piece, Overlord Publishers Sue Major Manga Piracy Site

The latest film, One Piece Film: Red was recently released for its debut in theaters in Japan and is scheduled to release internationally in the fall. The film introduces a new character in the franchise’s mythos in the form of Uta who is the estranged daughter of Red-Haired Shanks and a childhood friend of Luffy. A beautiful singer, Uta seeks to combat suffering and pain through the power of music.

There is even more than that going on in the world of One Piece, as it was recently revealed that the manga is entering its final story arc and the epic final chapter is closer than ever before. Additionally, Netflix is developing a live-action One Piece series and Bandai Namco is working on the development of a brand-new video game.

One Piece: Stampede is available on Amazon Prime Video.

A cosplayer has introduced God of War’s Kratos to Reddit using the Leviathan Axe, and Walter White, who was turned Mimir.

Kratos might face some competition before God of War Ragnarok‘s release after cosplayers put their spin on the god of war.

Reddit user, u/BootlegMoon, posted their rendition of the Ghost of Sparta as a female version in all its fierce glory. The costume features a replica of the Leviathan Axe. It also features armor and fur, Kratos’ red tattoos, and the shoulders and head of Mimir. In a post about the prop that was decapitated, BootlegMoon says that Mimir’s head started as an original Walter White mask before it was stuffed, glued, and then lightly painted to create the desired look. As for what part of the costume BootlegMoon enjoyed the most they said, “Mimir was probably the most fun to put together.”

RELATED: God of War Studios warns users not to Suffer Ragnarok Following Massive Leaks

The main character of the God of War franchise is Kratos. He began his career as a Sparta soldier and later made the hero of Ares in return to turn the tide in a terrible battle. Ares used Kratos to great effect, before causing him to murder his family members in a frenzied outrage. This was his revenge against the gods which earned him the title Ghost of Sparta.

It was believed that Kratos’ story ended after the God of War 3. After slaying his father Zeus to death and systematically murdering the remainder of the Greek pantheon, Spartan sacrificed his life to bring the power of hope to the world which was kept by Pandora’s Box, and later Kratos. His fate was a mystery until the God of War soft reboot in the year 2018.

RELATED: God Of War Ragnarok isn’t as dynamic as Fans Expect

Kratos who is now older and wiser, as well as a father returned to Midgard during winter to console his family. A journey ensues with him along with his young son, Atreus, attempting to take the ashes of his deceased wife, Faye, to the tallest peak in all the Nine Realms. The two are unknowingly on a collision course with the ruling party of the land, the Aesir god, and sets off a chain of events that precede the Norse version of the Apocolypse. After having survived their fights in the first game the father-son duo return in the sequel to put a stop to the predicted end of days, Ragnarok.

God of War Ragnarok comes out exclusively for the PlayStation 4 and PlayStation 5 in November. 9.

Marvel Cinematic Universe stars Chris Evans and Chris Hemsworth celebrate a young fan recreating Captain America’s biggest Avengers: Endgame moment.

Chris Evans and Chris Hemsworth recently praised a young fan’s adorable Marvel Cinematic Universe-inspired cosplay.

Evans and Hemsworth are the MCU characters of Captain America, Thor, and Mjolnir. They praised the cosplay on Twitter. Hemsworth started the conversation by retweeting a photo showing a young MCU fan dressed up as Cap as well as carrying a copy of Thor’s hammer Mjolnir to commemorate World Down Syndrome Day. The Aussie actor gave a shoutout to Evans, asking whether he believed that the fan (like his idol) was capable of the power of Mjolnir. Evans eagerly responded, calling the cosplayer “100%” capable of Mjolnir’s power and praising his ability to lift Mjolnir.

Related: Spider-Man – Pascal and Feige talk to Thomas Haden Church about Sandman’s Return

Captain America’s ability to utilize Mjolnir is among the most significant revelations in Avengers: Endgame, which was also Evan’s MCU final swansong. Since then, Evans has stated that he doesn’t plan to return to the shared world because he is concerned that it will make him less effective than Steve Rogers. However, Evans admitted in a recent interview that he isn’t enjoying playing Captain America, which Evans described as a pleasurable experience. He said, “You get paid for taking good care of yourself and being the superhero you are.” It’s exactly what you dreamed of doing when you were a kid.”

Chris Hemsworth talks about Thor 5

Hemsworth chose not to follow Evans in MCU retirement following Avengers Endgame. He will portray the God of Thunder for the second time in Thor, Love, and Thunder. Additionally, the on-screen message after the film revealed that Hemsworth will reprise the role in future MCU projects, something that was a surprise to him. Hemsworth made it clear that he was willing to return for a sixth Thor installment if it does not retread the same ground that its predecessors did. “I’ve said this before but if it gets too familiar, I’m worried it’s possible to become lazy then because I know what I’m doing,” he said.

Related: A Pre-MCU Silver Surfer movie would have had the Paul McCartney Soundtrack

It’s unclear at the moment what kind of story Thor 5 would be telling if Marvel Studios moves forward with the sequel. Thor: Love and Thunder’s mid-credits scene promises a battle between Thor and Brett Goldstein’s Hercules, however, it’s possible that this battle (if it ever happens) could be featured in another MCU film or television show. Goldstein talked about how the fight between Thor and Hercules could go down in a recent interview saying that his character might utilize heroin to take on Odinson.

Abstract

Cosplay, a type of art performed by people dressing up as manga characters or comics has received an increase in interest in recent years. Although cosplay is frequently cited as a method of understanding gender-specific interactions and gender performance scholars seldom consider how cosplay influences gender. In combining the interactionist and cultural views of gender, I demonstrate that cosplayers display gendered identities using standardized body actions. Contrary to the popular belief that cosplayers are the sole ones accountable for gender representation when it comes to cosplay, I demonstrate that makeup artists, photographers, as well as photo editors, help to make its popular. Contrary to simplistic accounts of donning hyper-masculinity/hyper-femininity, I argue that cosplay participants’ pursuit of authenticity makes singular orientation to the sex category insufficient and demands a version of masculinity/femininity that also attends to the character’s personality. My research is situated within the world of art for cosplay assessment and production. I encourage researchers to look at my research as an instrument that can help us concentrate our attention on the work of all gender representation. The multi-authorship aspect is often ignored.

Introduction

Cosplay is a mix of “costume” (Winge 2006, Kelts 2007, respectively). It’s an integral component of ACG (anime comics/manga gaming) fandom. It first came to prominence in China through ACG conventions in the late 1990s. Since that time, it has expanded quickly, with a strong online presence (Liu2006 Wang2006; Liu2006). Cosplay is a type of fan art that blends the production and consumption of culture through a highly interactive method to promote circulation. Cosplay lets fans become co-authors of fictional characters by using costumes, wigs, and makeup. In most cases, they have the assistance of editors and photographers, and a team of makeup photographers and artists (Fung and Pun 2016 and Ruan 2018). They also share and read, discuss on, and share photos of cosplay made by each other on the web. The “authenticity” of their photos of cosplay can be determined by their dedication to the characters they are based on (Matsuura and others. 2015; Rahman, et al. 2012).

Cosplay doesn’t just involve playing games, but also gender-based play. The characters that cosplayers try to impersonate could be of distinct gender. Gender-crossing is a common feature in the cosplay world (Norris and Bainbridge 2009). Unlike other gender-bending communities, gender-crossing cosplayers–sometimes called “crossplayers”–bend their gender for their love of characters, rather than for an explicit political agenda or for externalizing an internal gender identity that does not match their sex assigned at birth (Lamerichs 2011; Leng 2013; Tompkins 2019). While there are some different motivations and motivations, some researchers consider that cosplay is comparable to drag and is a good example of gender-based performance. Other scholars have a more radical view. Some adopt a more radical position.

As a subcultural activity, How can cosplay assist us to focus our sociological focus on the largely ignored aspects of the creation of gender? This theoretically abstract question can only be answered through an investigation into the creation of gender-specific embodiment through cosplay. This is the only way to ensure that the findings from our research apply to daily life to determine whether similar processes are taking place without being confined by our conceptual lenses. The literature that has been written on cosplay does not provide any concrete examples of how people engage in cosplay. This is not the only absence of any information on how to cosplay players play gender roles, despite being acknowledged as such (Kirkpatrick 2015 for critiques). This gap shouldn’t be overlooked by scholars of culture or specialists in the area who are interested in the globalization of Japanese ACG culture, but it should be of interest to feminist sociologists as well as social scientists searching for innovative ways to conceptualize gender.

This article is based on interviews with cosplay actors in China as well as makeup artists, photographers, and editors, to situate cosplay in its “art realms” of creation and assessment (Becker 2008). I examine the way that fictional characters’ gendered images are reproduced with the human body. I also look at the techniques of impression management employed by cosplayers to depict various genders. Contrary to the emphasis on cosplayers, I demonstrate how the supporting crew is essential in the success of gender-play when it comes to cosplay. Cosplayers need to convey gender-specific sensibilities through their postures and facial expressions. The support crew must be able to impart these messages to the bodies of cosplayers. Based on the emotions cosplayers evoke in the audience, these two kinds of bodywork–body modification as well as body movements–can make a gendered image in the eyes of the viewers. But a single direction to sex isn’t enough to “authentically” portray the character. Instead of donning hyper-masculinity/hyper-femininity, participants display an additional orientation to the personality category and strive to stage a version of masculinity/femininity consistent with the character’s placement into these categories.

My research findings focus on the creation of gender representations within Chinese cosplay scenes. Although they might not be relevant to other settings they are a good basis for thinking about how cosplay could enhance social theories. As I will elaborate at the end of this article, insofar as theory can be understood as hermeneutics and ways of looking at the world (Abend 2008), looking at gender as a cosplay (after decades of looking at gender as a drag) invites us to theorize gender as an artwork–collectively manufactured in its art worlds–whose multi-authorship is often obscured by neoliberal individualism. Cosplay is a great tool to use as a heuristic, integrating the theoretical perspectives of sociology (Goffman 1976, West and Zimmerman 1987) and sociology (Peterson and Anand 2004,). This will allow us to identify the theoretical possibilities of the single-authored gender representation of the “authentic self” even though they might not have the same roles or perform the same kinds of bodywork as cosplay team cosplay members.

Join the cosplay scene

Cosplay is becoming more and more popular globally however, there is a lack of academic writing on cosplay (Kirkpatrick 2015, Leng 2013 and Rahman and. and. 2012). Some scholars are wondering if cosplay and animation provide new methods to conceptualize, analyze and analyze human activities (Silvio 2010; Manning and Gershon 2013; Silvio 2010). Manning and Gershon 2013; Silvio 2010) However, most of the research currently on cosplay focuses on the reasons people engage with each other (Bainbridge, Norris 2013, Lamerichs 2011; Lamerichs Peirson Smith 2013; Rahman, et al. 2012; Tompkins 2019, Wang 2010; Winge 2006.) instead of the way people engage in. This lack of attention to cosplay comes at an intellectual cost. It is by studying the latter that it is possible to look at the similarities and differences between cosplaying fictional characters like Uchiha Sasuke from Naruto as well as the act of playing the abstract concept of “hegemonic masculinity” and other everyday interactions. Becker (1953), famously shows that the focus on “why” could lead to stigmatizing the process being studied and the people involved. But, shifting our focus to “how” can allow us to discover social patterns that can help us understand the role of other people in different activities.

The subject of gender-based performance is indeed a major theme within this small collection of work. It’s not surprising that cosplay that crosses genders is popular and well-respected when executed properly (Leng 2013). A large portion of the debate in academia concerns whether cosplay subverts gender norms (Bainbridge and Norris 2013; Gn 2011, Lamerichs 2011, Bainbridge and Norris 2009, Gn 2011, Lamerichs 2011, Loke 2016, Norris and Bainbridge 2009, Tompkins 2019,). A lot of these studies emphasize the role of cosplay in Butler’s (1990), theory of gender performance. They also highlight the embodied elements of it (e.g. Bainbridge and Norris 2013; Gn 2011, Bainbridge and Norris 2014). Gn 2011; Lamerichs 2014). However, they remain hesitant regarding the genders embodied or performed in cosplay. Sometimes, they simply characterize the performance as an individual, hyper-feminine/masculine display. Leng (2013) on the page. 90, says that in her research on male-to-female cross-play, “men don’t just don feminine attire, but also hyper-femininity when they play as women. This exposes the social constructs that are created and strengthen the gendered nature of these performances.” My research examines how cosplayers represent gender and the divisions of labor that allow the practice.

Knowing these processes requires a thorough understanding of the motives behind cosplay. Winge (2006) states that the majority of people participate in cosplay due to their love of characters as well as to meet other ACG fans. This shared passion is an important factor in cosplay. Cosplay is about expressing the cosplayer’s affection for the character they are playing. That means that cosplayers should “inhabit the character of the character physically as well as mentally” (Norris and Bainbridge 2009) Not just dress up in exotic costumes (Kirkpatrick (2015); Leng (2013)). Cosplay is a way to build relationships between fans. The participants learn from each other and evaluate their cosplay (Bainbridge and Norris 2013; Bainbridge & Norris Lamerichs 2011, Matsuura and Okabe 2015, Rahman et all). 2012). Cosplay, therefore, is not only included in the dyad of a character and participant but is also part of an ensemble of spectators and performers (Lamerichs 2014).

The authenticity of the character is an important issue for this group of performers-spectators. The quality of cosplay can be assessed by authenticity, which is a measure of the cosplayers’ love for their character. For a long time, sociologists of culture have maintained that authenticity is not intrinsic but is constructed by society that is recognized and achieved (Peterson 1999, 2005; Hughes 2000). It has to be performed in a staged, staged, and constructed. Cosplay is a type of cosplay in which authenticity is determined by the commitment of the participant and commitment to the character they are playing. The participants must be aware of both the physical characteristics (e.g. costumes, makeup) as well as the mimetic aspects (e.g. body/face expressions) when they perform (Rahman and al. 2012, 326; Norris & Bainbridge 2009). It is also possible to view them as having not made enough effort to resemble the character’s original appearance (Lamerichs 2014). If a cosplayer doesn’t appear to be the selected gender, it could be seen as an attempt to mimic the character (Leng 2013,). Since authenticity is crucial that it is essential to research the gender dynamics in cosplay through an interactivity lens. This lets you observe not just how a person does their work, however, but also how they behave collectively and reflexively in anticipation of how their performance is evaluated.

In this terrifyingly exact recreation of a Junji Ito panel, Azami Kurotani (Horror Manga Uzumaki) haunts the screen.

This creepy cosplay by Azami Kurotani from Uzumaki is among the most recognizable images of the creator of the horror genre Junji.

Timunnie, the cosplayer who plays her take on the “Spiral Girl” to Instagram. The photo is of her her portraying Azami. Her makeup looks like a panel from the manga. The image shows the character sporting the famous spiral scar on her face, twisting around her left eye, and the organ that is buried in the spiral. Timunnie is also decked out with monochrome face paint reflecting the colorless appearance of the material.

RELATED: Junji Ito to Design Cover for Upcoming Horror Anthology Betwixt

The Cosplayer’s Creative Take on Spiral Girl

Timunnie gives a distinctive variation to the costume through the use of a hijab, which is transformed into a hairpiece, which captures the bob cut that is short and black the character features in the artwork. The post contains two photos with the first one showing her looking into her spiral scar with her left eye and the second one focusing on her as she stares at the camera.

The costume got an overwhelming amount of praise through the comments. The costume received a great deal of praise. A lot of them included the expression “Keren banget,” which roughly means from Indonesian to English as “so cool.” Others in the comments responded with phrases like “this is insane.” Many even expressed fear when looking at the pictures.

Related: Did Junji Ito’s The Bully Influence Jason Bateman’s Darkest Movie?

Junji Ito’s Iconic Horror Stories

Junji Ito is a horror writer who has written many stories. Some of his most famous include Gyo, Tomie, Black Paradox, The Black Paradox, Longer Human, and what is commonly referred to as his greatest masterpiece Uzumaki. There have been many short films as well as his novels. Some of his most notable titles are “The Long Dream”, “The Enigma of Amigara Fault,” and “Fashion Model.” The Junji Ito Story Collection will soon release Tombs and Soichi.

The work of Ito has been adapted many times, with a live-action Tomie series ranking as one of his most popular. In addition, his tales were compiled into two distinct anime anthology programs. The first was titled Junji Ito Collection and produced by Studio Deen and received poor reviews. There was a second attempt from the same studio titled Junji Ito Maniac: Japanese Tales of the Macabre, licensed by Netflix. The fans received Japanese Tales of the Macabre more positively than the first one However, it also received severe criticism.

In the end, the character Azami may end up on the small screen as Production I.G. Production I.G. is currently working on an adaptation of Uzumaki. The production has been delayed multiple times and there is still no date for release as of this writing.

Everyone is thinking about Halloween costumes as Halloween is just around the corner. People who usually wear T-shirts and jeans are suddenly eyeing colorful spandex, capes, wigs, and corsets and are opening their wallets to acquire the outfit that will show their image to the world in the form of somebody or something — they’re not.

However, for those who cosplay — who dress in costumes to role-play characters from TV, movies, shows, comics, books, and video games, the challenge of transformation is one they happily take on at different times throughout the year.

Cosplayers can put in a lot of money, time, and effort designing unique head-to-toe displays. Certain designs incorporate intricate accessories, body or facial prosthetics, complicated electronic parts that work, or even working electronic parts. Other costumes make it more difficult for wearers to see and move. [ Comic Con Cosplay Pictures of the Amazing Costumes[ ]

What is it that inspires cosplayers to be so creative? Psychologists and cosplayers studying the phenomenon can reveal the personal and social characteristics which make dressing up appealing and rewarding.

To love costumes

From October. 6-9 the 6th, thousands of cosplayers took part in New York Comic Con 2016 (NYCC), costumed as superheroes and supervillains, Jedi and Sith Ghostbusters Starfleet officers, Hogwarts students and teachers, and many, many other characters.

“Cosplay is a joy for me,” Edgar Roldan, a cosplayer and NYCC attendee, told Live Science recently.

Roldan — who wore a furry, blue suit and a large head to represent Happy from “Fairy Tale” (Del Rey Manga) — said the most satisfying part of cosplay was “just being yourself — being who and whatever you want.”

Others NYCC cosplayers claimed that cosplay enabled them to explore their creative side especially when a large portion of their costume was handmade. Live Science spoke with Joe Bokanoski, Mike Labarge, and Mike Labarge about how they created their costumes. They created post-apocalyptic versions of DC Comics’ Captain America (and his arch-nemesis, Red Skull) by searching at junkyards and flea markets.

Their clothes were heavy and heavy. They were excited to wear the outfits despite their discomfort and the appreciation they provoked.

Bokanoski said, “It’s worthwhile just to make people smile on their faces.”

Living with a character

If a cosplayer chooses to wear an outfit it is usually because they tap into a specific character -or even a mix of characters — because something about that role resonates with them according to Robin S. Rosenberg, Clinical psychologist at the University of California, San Francisco.

Rosenberg, who has written extensively on how people perceive and appreciate fictional characters, especially superheroes said in Live Science that she became interested in studying cosplay after seeing cosplayers at conventions where she gave talks.

“We are aware from the psychology of our world that we all have different roles throughout the day and week,” Rosenberg said. “Different aspects of me — like ‘psychologist’, wife,’ mother” — come into focus in various contexts. I was curious about the way people could take on a character and what happens when they don’t dress in costumes.

Rosenberg said that certain costumes can help individuals deal with their issues. If you’re someone who’s suffered trauma, Batman can be a meaningful choice of cosplay. Batman suffered from horrific trauma as young and witnessed the horrific murder of his parents- which he overcame to become a hero.

“When people dress up as Batman, many talk about having [experienced] their own traumatic experiences,” Rosenberg said. “He did not go through it, but gained meaning and purpose through his experiences, and that is inspiring to them.”

Rosenberg pointed out the fact that Wonder Woman is yet another timeless and popular choice that resonates with women of all ages, in part because she is a standout in the male-dominated realm of comic superheroes in costume. Rosenberg stated that Wonder Woman costumes are a way for cosplayers to show their appreciation and celebrate the power of Wonder Woman.

Recently, a series of photos on Instagram with a girl aged 3 dressed in the character of Wonder Woman quickly went viral. Her father, a photographer, said he not just “fulfilled my daughter’s desire of being Wonder Woman” by creating an elaborate costume but also staged a photo shoot that included his daughter in the scenes of the upcoming movie, due in theaters June 2 on the 2nd of June, 2017. The girl’s smiles in the photos show that she was elated about her new position as a superhero. [ DIY Halloween costumes: 7 Creative Getups to Any Party]

Cosplay is a form of performance. Dressing up in a costume makes a visible declaration of the wearer’s dedication to a certain character or fandom. It also encourages people to come up to the character to snap photos and converse. This is why it was surprising for Rosenberg to learn through her interactions with cosplayers that a lot of them identified as introverts.

“When they donned costumes and were socially outgoing,” Rosenberg said. Rosenberg explained that wearing a costume could help a person tap into the confidence they don’t have and aid in overcoming shyness in real life.

Rosenberg declared that wearing costumes, particularly cosplay can allow you to become independent of yourself. “But on the other hand, it can summon something in you that’s not normally brought out.”

Building a community

Costume play doesn’t just impart powers upon individuals but also fosters an atmosphere of community, according to Michael Nguyen, a cosplayer and costuming columnist for the “Star Trek” news site Trekmovie.com. “Star Trek” was Nguyen’s gateway to cosplay, he said in Live Science. He discovered a wide network of people who were attracted to Star Trek and the world they lived in, by making and wearing Star Trek costumes.

“In Star Trek, there’s this idea of unity and diversity,” Nguyen said. “It portrays a future a lot of people want to believe in.”

He stated, “They’re doctors, attorneys, and students in Ph.D. programs — just people who like to be expressive and to talk about what they envision the future to be.” [ 10 Futuristic Technologies Star Trek’s Fans Would Like to SeeCosplayers are from of all walks of life.

Nguyen also organizes bimonthly events for Star Trek fans in New York City. The concept was first introduced to five people in 2013 before it was expanded to 50-60 participants three years after. Nguyen spoke of friendships he’s made over the years with people who live thousands of miles away, and with whom he’s been able to share the joy of “needing out” over science fiction and who have inspired his cosplay creativity.

“Costuming is more enjoyable if you are doing it with other people,” Nguyen told Live Science. “You create your look, but you also feel part of a universe when you’re surrounded by others who enjoy it as much as you do.”

NYCC cosplayers agreed. Live Science spoke with a woman who wore the She-Ra Princess of Power costume from the television show “Masters of the Universe”. She said that cosplay was her favorite part of being a cosplayer.

“It isn’t important how you look or who you’re wearing,” she said. It’s a community. It’s like a big family. Once a year, I go and see people that I haven’t seen but once every year, and it’s just great.”

A woman who wore a costume of the character of a Hogwarts student from the “Harry Potter” books and films described taking part in the “flashmob” at NYCC in which 75 people in Potterverse cosplay came together for a photo and for one participant to propose to his partner.

She said, “It’s wearing one’s interests on the body.” “It’s a great method to bridge the gap and find the most common ground.”