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Japanese popular culture has become a major global phenomenon, with thousands of manga, anime, and video game titles translated and localized every year in dozens of countries. However, despite the international success of Japanese pop culture, fandom in Japan remains insular and socially marginal. Japanese society generally regards otaku and fujoshi as undersocialized, immature, and even dangerous. This paper examines the collision of these two fan cultures as depicted in Kio Shimoku's manga Genshiken. A somewhat self-deprecating love letter to otaku and fujoshi, the text depicts a university otaku circle that is eventually joined by an American exchange student, Susanna Hopkins. Through the inclusion of this exchange student the text expresses anxieties about the exportation and repatriation of Japanese subculture. Sue only expresses herself in quotes from subcultural texts, suggesting that the process of exportation transmogrifies Japanese subculture to the point where it is no longer legible to Japanese fans. This subculture, dehistoricized and decontextualized from the social and cultural strata of Japanese fandom, is made illegible in its home country, revealing deep uneasiness about the spread of Japanese subcultural fandoms that have escaped Japanese cultural authority and invites scrutiny to insular fandom. [ABSTRACT FROM AUTHOR]