86. Casablanca is a cult movie precisely because all the archetypes are there, because each actor repeats a part played in other occasions, and because the characters live not the "real" life of human beings, but a life as stereotypically portrayed by previous films. Casablanca brings with it the scent of déjà vu to such an extent that the specator is ready to see in it also what happened after it.
105. When a repertoire of formulas is used wholesale, then the result is an architecture like Gaudi's Holy Family Church --- the same vertigo, the same stroke of genius.
106.
107. To understand the evaluation/consumption structure of otaku culture, it is necessary to distinguish two levels of otaku's desire. One is the level of simulacra where the odd images like the examples above fill the market. The other is the level of database that consists of the types and elements and regulates the scope of simulacra.
108. Their desire toward those two levels are quite different from each other. In one hand, otaku is addicted to and absorbed in the given simulacra imagery. [...] We can call it a "wet" and exclusive desire. [...] communication with humans. However, in the other hand, otaku is perfectly "dry" towards the works in the level of database. They rather feel big zeal in decomposing the unity of the given work or character into types and elements, rearranging them and making another new work or character.
141. The point of Touhou is to express the worldview of Touhou [...] As Touhou evolves, the characters and the game systems change, but the basic feel remains the same.
151. Well, I live in modern times, so it makes it much easier. And I get to include things like rockets. If I had a setting in the past, I’d have to study a lot of history.
171. We love our fans. We want them to have fun. But if in fact somebody is using our characters to create a story unto itself, that's not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.
174. In general, feel free to create derivative works --- I don’t really mind. If you ask, I won’t say no. The basic rule is that derivative works are something entirely different from the original. It’s not mine, and there isn’t really anything I could do to stop it if I wanted to, and it would be bad if I did, I think.
197. Nico [Nico Douga] is an interesting place that makes it easy for people to create new works by tying together existing things --- which is the essence of creation. [...] Following the progressions of evolutions from original works will probably result in something entirely new.
