“A real female has smells (…) this is clean and pretty” an otaku says in an image commonly passed around /c/ and its adjacent communities. This sentiment is seen undergirding the fascination with moe and cuteness for many, the sterile image of it. Women are made into hypergirls, an impossible archetype of feminine as innocence and object-value, the characters far beyond the typical of characters in shows as their entire being is made, not of actors, but of the same creative hand that birthed the scripting. The girls exist not only as a product of, but teleologically for and only-for the purpose of the show. There is no unpleasant irrupture by the reality of acting, a reminder of the flesh behind the product, only a simulacra more perfect than perfection could hope.
The fascination with this is via a process of negation, moe is-not, is-not, is-not and thus an ensuing list of all things impure and dirty with what is outside or non-moe. The real female is all unpleasant beyond, while moe provides an edenic space of purity by negation, leaving only a reality that functions akin to a platonic ideal, by separating the impure and the pure into neat halves of the world.
This purity takes the form of a regression, the boundaries of which demarcate what precisely is used to draw the pure and impure as separate. Moe is obsessed with childhood, portraying girls as not only physically young, but infantile before their diegetic age.
Purity here is truly Edenic, a place before the fall. All things that are impure are that which associate with aging - sexuality, bodily functions, etc. Notice that this is precisely what is awakened in so-called corruption or moral degeneration hentai. The girl is taken from the boy and re-presented to him as a woman, hairy, darker skin, high sex drive, curvy body, etc. The fear here is a fear of puberty as a unified chaos of the-exterior. The ego still remains in a childlike state which beyond it is the horrifying face of life that imposes in pubescence, sexual women, virile men, bodily changes, all experienced as part of the same unknowable other that forced itself into the same world of the self. Such is the constant identification with the desired-woman and the feared-male-other, ugly bastards, black men, criminal elements, etc, and the constant obsession with not only girlfriend NTR, but mother, sister, best friend…
This imaginary realm of purity exists as a broad function in the conservative mind, often the mechanic by which it operates. Wanting to literally regress into an earlier, Edenic state, a construction is made both of the ideal and of the impure corrupting that ideal. Nick Fuentes’ fans have been obsessed with an image of “Apu”, a Pepe regressed, shitting his pants, speaking in toddler-like babble, childishly fumbling about the world. The self here is drawn as a child to reveal the nature of their fascinations. The Bambi-like meadows of romanticist landscapes, the infantilizing language of Christian love, the regressed consumption state of a child, taking pleasure in tendies and hollow gaming, all of which serve to act as a safe space, a pacifier of sorts against the horrors of modernity they politically identify against, as psychological identification against puberty.
Their female counterparts of course, take the same fantasy a step farther by creating not only a physical space but also by centering around childrearing itself. For the tradwife, nature is fantasized as Eden, a peaceful cottage in a European meadow, an image of the wilderness based not in reality of the wilderness or living off the land, but of the same regressive instinct, a wilderness constructed as a garden for small children. Their childhood is then extended to the creation of “innocence”, life untouched by the pubescent-modernity, with their sexuality suppressed in favor of an abstracted process they view as creating children.
The sublimation occurring in all of this isn’t an easy sublimation of using ones politics as an outlet for ones sexuality in a direct sense, but in a more abstract process of externalization. Sexuality is painted as the outside, as mentioned previously, and this performs a crucial function in the keeping of sexuality as intact. The fetish then is not anything to do with the self, but rather a sort of tainting that purifies the self. One will always be, in their fantasies, a perpetual victim of the other, cuckolded or raped, transformed into a being of impurity in a replication of the drama of their stunted adolescence. Purity will always remain there, as the cuckold is locked up or the rape victim will always be contrasted against her former self. This is a feature, not a problem, as this contrasted purity against the impurity reinforces this boundary time and again, satisfying the emotional architecture already constructed via the masochistic thrill.
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