|
I have no doubt at all that pedophiles do enjoy fictional child pornography. However, my contention is that (i) it is not clear that pedophiles make up the majority of such viewers, and there are other plausible explanations for why, concordant with what we know from other kinds of media, and (ii) it is not clear that the fans understand the work in the way pedophiles do, and Galbraith's work on the history and current trend of phenomenon hints in that direction. From what I can tell, the people whom the content is marketed towards (and yes, including things like Mushoku Tensei) concerns people with what is known in Japan as the "2D complex", or people with vivid imaginations, with a strong distinction between fantasy and reality. At the same time, I will agree that pedophiles typically have trouble distinguishing fantasy from reality. But it is undeniable that there are kink, fetish, and pornography communities which work on the very principle of distinguishing fiction from reality, and infusing them with imagination that does not reflect real-world desire. It also stands to reason that the aesthetic properties mean something - in that if the primary audience were pedophiles, we'd see much more realistic depictions, or a trend toward realism, rather than an emphasis on distorted bodies, ridiculous settings, parody, and unbelievable characters common in such material. See also readings on Otaku, fictional sexuality, and moe. Japan, and by extension those who are moulded by Japanese media, has a strong tradition of a different conception of fiction and reality to the Western view that fiction is pure wish-fulfillment, and real desire is a fixed point in erotic function. Galbraith cites this research in the paper I mentioned earlier, as does Gary Young (a psychologist, for once!) in the work mentioned earlier. |
What unique quality does child sexual abuse add to fiction which would override the loss of sexual desire that the average person feels with children?