Japanese poster art is has a distinct look and many western appreciators (it is claimed by some that the Japanese poster tradition is fundamentally different because it didn’t grow as a tool for selling products). “Design” as a wider concept seems to be more intrinsic to these languages. And even though handwritten Latin script is methodically taught by western schools, there is particular emphasis on the proper illustration of Asian characters (the order of strokes especially). The effect on posters and other materials is enhanced by the fact that, by convention, Chinese characters are mono-spaced. Chinese Hanzi (and Japanese Kanji, when imported) may be complex, but they recycle and recombine shapes in a way that is actually very ordered and aesthetically appealing.
There is an undeniable appeal to these characters, and it’s not just a matter of how ‘different’ they appear to western writing schemes. Very sweet, except it actually says “And now, let us wash our hands”, which is the last directive you’d hope to hear after being in somebody’s bedroom. Exhibit B: a colourful plaque depicting a cute racoon, on my housemate’s bedroom door. Exhibit A: A Neon Genesis Evangelion poster covered with dramatic three-inch high lettering that actually just announces an upcoming DVD set.
I’d call these people out, but even in my own house there’s at least two items purchased for how cool they look. More often than not, the products of this enthusiasm are upside-down Korean characters, gibberish strings of Chinese logograms and dramatically (permanently!) inked tattoos taken from the streets of Japan (though, more likely from the side of a beverage can than a Yakuza’s back). In the west, eastern languages are viewed rather romantically and the exoticness of their written shapes have made items featuring them highly desirable.
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