恰恰相反，萨提奥在描述御宅族的性行为时，并没有承认从不同类型的小说形象中获得快乐的能力，而这种能力能够从根本上保护动画和漫画的想象空间。他对小说的御宅态度是积极的，尤其是对小说人物的情色化能力。为了拥有幻想的生活，并将其与正常生活进行比较，他认为御宅族很有能力区分真实的和虚构的东西。在其中一幅名为《和我一起玩吧》的作品中，森创造了一个“真实”的“幻想曲”世界形象，同时再现了一个玩偶般的外表，描绘了御宅族文化中性欲的主要趋势。虽然村上春树的作品《我的寂寞牛仔》和《Hiroporn》更直接地展现了动画人物“Hiropon”的性取向，但他们的作品都带有“Moe”对御宅族情感的元素。
Moe是另一个日语术语，它定义了对虚拟对象的强烈依恋，比如视频中的动画人物、漫画。它指的是以后对任何事物都有感情，而我们对性的规范理解坚持认为它必须在现实世界中有一个对象(对于异性或同性恋)。斋藤拒绝将另一种欲望作为“过渡”对象。他认为，想要一个动画形象和想要一个真人之间没有本质的区别。这是因为前几段所讨论的与现实世界有关的东西，在精神分析学的观点中，是想象的一部分。
除此之外，还有不同的Moe的支持者，他们的研究范围很广。这些是支持者，他们的范围从那些拥抱和承认他们已经经历了与性兴奋相关的元素。这包括拥有幻想媒体对象的巨大可爱性的元素，对于那些否认自己的角色为爱而献身的人。这类似于普通影迷对摇滚明星或电影演员的渴望。即使对亨利·詹金斯来说，这些问题也可以被认为是“当代文化中一个可耻的范畴”。在酷儿理论中，他们被毫无争议地描述为一种反社会现象和“羞耻”。虽然xx论证中把“羞耻”转化为“骄傲”的表现性是非常明显的。的粉丝，他们在官方明星身上寻找快乐的障碍、缺口和过度，但却能给他们带来快乐，而这种快乐恰恰构成了粉丝的身份和他们的效果。
On the contrary, Satio describes the otaku sexuality in such a manner that it does not helps to acknowledge the ability to get pleasure from different kinds of fictions images which can lead to the fundamental preserving of the imaginary space of anime and manga. The Otaku attitude towards fiction has been taken by him in a positive manner, especially on their ability of eroticization of fictional characters. In order to have a fantasy life and its comparison to live a normal life, he has argued that the Otaku’s are quite capable of differentiating between something which is real and fiction. In one of the works titled as “Play with me”, Mori has created a “real” image of “Fantasia” world while reproducing a doll-liked appearance to depict the primary trend of sexual desire in Otaku culture. Though the sexuality of an anime character “Hiropon” is more directly displayed in Murakami’s work “my Lonesome Cowboy” and “Hiroporn”, both of their work hold the element of “Moe” regarding otaku affection.
Moe is another Japanese term which defines a strong attachment towards the fictional objects such as anime characters in the video, manga. It is used to refer to have affection towards any subjects later on, while our normative understanding on sexuality insists that it must have an object in the real world (for both the opposite sex or homosexual). Saito rejected the idea of taking another desire as a “transitional” object. He argues that there is no intrinsic difference between wanting an animated image and desiring an actual human being. It is because what has been discussed in the previous paragraphs related to the real world is a part of the imaginary on psychoanalytic view.
In addition to this, there are different proponents of Moe which runs the gamut. These are the proponents who run the gamut from the ones who embrace and avow that they have been experiencing the element which is related to the sexual turn on. This includes the element of having the great cuteness of the fantasy media object to the ones who deny to play any part towards the devotion of their characters for love. It is similar to the desire to be a rock star or being a film actor in normal fan practice. Even though for Henry Jenkins, these questions can be argued, “a scandalous category in contemporary culture.” They are described undisputedly as an anti-social phenomenon and “shame” in queer theory. Although performativity turning “shame” into “pride” in xx’s argument are very clear. “, fan who seek out the blissful snags, gaps and excesses in an official star that nevertheless provides just pleasure, something that constitutes the very identity of the fan as their effect.