Skip to content
1981
Volume 11, Issue 1
  • ISSN: 2051-7084
  • E-ISSN: 2051-7092

Abstract

The COVID-19 pandemic caused people worldwide to spend more time at home, looking for entertainment on the internet, including video on demand services. In Japan, the growing popularity of Netflix resulted in an increased consumption of Korean content, a trend that manifested itself particularly in the massive popularity of a South Korean drama , the most watched programme of 2020 on Netflix Japan. This article analyses various manifestations of ’s popularity, focusing primarily on fan digital practices: online fan meetings, drama food recreation video sharing and virtual tourism. Based on the data gathered via online content analysis, digital ethnography and interviews, the author argues that these practices allow deeper immersion into the narrative world and intimacy building with the characters, offering entertainment, safety and comfort. Moreover, even though digital practices are not limited by national borders, thus often associated with transnational fandom, provided case studies suggest that intimacy building with the object of fannish affection has close ties to the national focus of presented practices.

Loading

Article metrics loading...

/content/journals/10.1386/eapc_00100_1
2023-07-11
2026-04-13

Metrics

Loading full text...

Full text loading...

References

  1. Ahn, Ji-Hyun and Yoon, E. Kyung (2020), ‘Between love and hate: The new Korean Wave, Japanese female fans, and anti-Korean sentiment in Japan’, Journal of Contemporary Eastern Asia, 19:2, pp. 17996.
    [Google Scholar]
  2. Aki (あき) (@dearHB_0605) (2020), Twitter, 27 September, https://twitter.com/dearHB_0605/status/1310222561393868800. Accessed 8 October 2022.
  3. Akiyama, Miyako (秋山都) (2020), ‘“Ai no fujichaku” de owaranai? Dai 4-ji hanryū būmu no tateyakusha’ (‘It won’t end with Crash Landing on You? The force behind the fourth Korean Wave’), Forbes Japan, 16 July, https://forbesjapan.com/articles/detail/35857. Accessed 8 October 2022.
    [Google Scholar]
  4. Ari (@arinosaran) (2020), Twitter, 27 September, https://twitter.com/arinosaran/status/1310219457206263808. Accessed 8 October 2022.
    [Google Scholar]
  5. ASH-Life Korea (2020), ‘I made North Korean noodle soup from Korean drama Crash Landing on You’, YouTube, 27 June, https://www.youtube.com/watch?v=8T_nU1Mqo84. Accessed 8 October 2022.
    [Google Scholar]
  6. Baudinette, Thomas (2021), ‘Reflecting on Japan–Korea relations through the Korean Wave: Fan desires, nationalist fears, and transcultural fandom’, Transformative Works and Cultures, 36, https://journal.transformativeworks.org/index.php/twc/article/view/2045/2857. Accessed 24 May 2023.
    [Google Scholar]
  7. BBC (2020), ‘Crash Landing on You: The defector who brought North-South Korean romance to life’, BBC News, 22 February, https://www.bbc.com/news/world-asia-51526625. Accessed 17 April 2023.
    [Google Scholar]
  8. Booth, Paul (2016), Digital Fandom 2.0: New Media Studies, New York: Peter Lang Verlag.
    [Google Scholar]
  9. Chang, WoongJo and Park, Shin-Eui (2019), ‘The fandom of Hallyu, a tribe in the digital network era: The case of ARMY of BTS’, Kritika Kultura, 32, pp. 26087.
    [Google Scholar]
  10. Choi, Ji-won (2020), ‘Crash Landing on You ends with tvN’s highest ratings yet’, The Korea Herald, 17 February, http://www.koreaherald.com/view.php?ud=20200217000679. Accessed 8 October 2022.
    [Google Scholar]
  11. Closed (@yejinmongji) (2020), Twitter, 27 September, https://twitter.com/yejinmongji/status/1310218445766696961. Accessed 8 October 2022.
  12. Cloysauce (@cloysauce) (2020), Twitter, 27 September, https://twitter.com/cloysauce/status/1310200909431930883. Accessed 8 October 2022.
  13. Costello, Victor and Moore, Barbara (2007), ‘Cultural outlaws: An examination of audience activity and online television fandom’, Television & New Media, 8:2, pp. 12443.
    [Google Scholar]
  14. Duffet, Mark (2013), Understanding Fandom. An Introduction to the Study of Media Fan Culture, New York: Bloomsbury Publishing.
    [Google Scholar]
  15. Ema, Takeru (2022), ‘[Ai no fujichaku] ni tōjō shita Kan dora ryōri o tabezu ni saigen shitara kō natta! Futsukayoi, tsuyu jiki ni piritto yasai tappuri tabe rareru reshipidesu!’ (‘Crash Landing on You how it turned out when I tried to recreate a K-drama food without eating it! Recipe for a piquant, full of vegetables meal perfect for hangover or rainy season’), YouTube, 10 June, https://www.youtube.com/watch?v=98c0oaj94-Q&t=403s. Accessed 8 October 2022.
    [Google Scholar]
  16. Flixpatrol (2022), ‘Crash Landing on You top 10’, Flixpatrol, https://flixpatrol.com/title/crash-landing-on-you/top10/. Accessed 8 October 2022.
    [Google Scholar]
  17. Fujii, Taro (2021), ‘Netflix hikes Japan prices after pandemic pulls in 2m new users’, Nikkei Asia, 5 February, https://asia.nikkei.com/Business/Media-Entertainment/Netflix-hikes-Japan-prices-after-pandemic-pulls-in-2m-new-users. Accessed 8 October 2022.
    [Google Scholar]
  18. Fukuichi, Yuki (2021), ‘Comment: [Ai no fujichaku] Ri jonhyoku ga yun seri ni nokoshita ano memo no ryōri o saigen! Pāto 2’, YouTube, 5 March, https://www.youtube.com/watch?v=l0EscF6-dvU&t=201s. Accessed 8 October 2022.
  19. Galbraith, Patrick W. (2012), ‘Idols: The image of desire in Japanese consumer capitalism’, in P. W. Galbraith and J. G. Karlin (eds), Idols and Celebrity in Japanese Media Culture, London: Palgrave Macmillan, pp. 185208.
    [Google Scholar]
  20. GEM (2021), ‘Press release. VOD market in Japan: 389.4 billion yen in 2020, up 33.1% year-over-year, and Netflix’s share is no. 1 for the second year in SVOD market’, GEM, 12 February, https://gem-standard.com/statics/download/Press%20Release_VOD_Market_in_Japan_2020_GEM_Partners_En.pdf. Accessed 8 October 2022.
    [Google Scholar]
  21. Grossberg, Lawrence (1992), ‘Is there a fan in the house? The affective sensibility of fandom’, in L. Lewis (ed.), The Adoring Audience, London: Routledge, pp. 5065.
    [Google Scholar]
  22. Guerrero-Pico, Mar (2017), ‘#Fringe, audiences, and fan labor: Twitter activism to save a TV show from cancellation’, International Journal of Communication, 11, pp. 207192.
    [Google Scholar]
  23. Guide, A (2021), Twitter interview by Aleksandra Jaworowicz-Zimny, 26 October.
  24. Guide, B (2021), Zoom interview by Aleksandra Jaworowicz-Zimny, 21 October.
  25. Han, Benjamin (2017), ‘K-pop in Latin America: Transcultural fandom and digital mediation’, International Journal of Communication, 11, pp. 225069.
    [Google Scholar]
  26. Han, Hee-Joo and Lee, Jae-Sub (2008), ‘A study on the KBS TV drama Winter Sonata and its impact on Korea’s Hallyu tourism development’, Journal of Travel & Tourism Marketing, 24:2–3, pp. 11526.
    [Google Scholar]
  27. Hirata, Yukie (2008), ‘Touring “dramatic Korea”: Japanese women as viewers of Hanryu dramas and tourists on Hanryu tours’, in C. B. Huat and K. Iwabuchi (eds), East Asian Pop Culture: Analyzing the Korean Wave, Hong Kong: Hong Kong University Press, pp. 14356.
    [Google Scholar]
  28. Ho, Swee Lin (2012), ‘Emotions, desires, and fantasies: What idolizing means for Yon-sama fans in Japan’, in P. W. Galbraith and J. G. Karlin (eds), Idols and Celebrity in Japanese Media Culture, London: Palgrave Macmillan, pp. 16681.
    [Google Scholar]
  29. Hyanlovedora (@hyanlovedora) (2020), Twitter, 27 September, https://twitter.com/hyanlovedora/status/1310217124221083649. Accessed 8 October 2022.
  30. Ito, Mizuko, Okabe, Daisuke and Tsuji, Izumi (2012), Fandom Unbound. Otaku Culture in a Connected World, New Haven, CT: Yale University Press.
    [Google Scholar]
  31. IT Media (2020), ‘Netflix, Nihon no 2020-nen ninki sakuhin toppu 10 wo kōkai 1-i wa?’ (‘Netflix Japan publishes its top ten – what is number one?’), IT Media News, 14 December, https://www.itmedia.co.jp/news/articles/2012/14/news061.html. Accessed 8 October 2022.
    [Google Scholar]
  32. Iwabuchi, Koichi (2002), Recentering Globalization: Popular Culture and Japanese Transnationalism, Durham, NC: Duke University Press.
    [Google Scholar]
  33. Jagiya! Annyeong?! (@scorpiosince91) (2020), Twitter, 27 September, https://twitter.com/scorpiosince91/status/1310189773336633349. Accessed 8 October 2022.
  34. Jang, Hyunsuk (2022), ‘Pandemic to “fandomic”: The revival of fandom publics in the digital space of Latin American K-Pop fandom’, Seoul Journal of Korean Studies, 35:1, pp. 2950.
    [Google Scholar]
  35. Jenkins, Henry (2006), Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
    [Google Scholar]
  36. Jung, Sun (2011), ‘K-pop, Indonesian fandom, and social media’, Transformative Works and Cultures, 8, https://doi.org/10.3983/twc.2011.0289.
    [Google Scholar]
  37. Jung, Sun (2012), ‘Fan activism, cybervigilantism, and othering mechanisms in K-pop fandom’, Transformative Works and Cultures, 10, https://doi.org/10.3983/twc.2012.0300. Accessed 17 April 2023.
    [Google Scholar]
  38. Kankoku zaijū K-drama raitā Misa (韓国在住K-dramaライターMisa) (2022), ‘[Mōshikomi uketsuke-chū!] “Ai no fujichaku” “Itaewon kurasu” roke-chi-meguri: HIS onrain taiken tsuā’ (‘Registration open! HIS online tour to Crash Landing on You and Itaewon Class locations’), One more Korea, 19 August, https://onemore-korea.site/contents/event_his_220821/. Accessed 8 October 2022.
    [Google Scholar]
  39. Kanozia, Rubal and Ganghariya, Garima (2021), ‘More than K-pop fans: BTS fandom and activism amid COVID-19 outbreak’, Media Asia, 48:4, pp. 33845.
    [Google Scholar]
  40. Karlin, Jason G. (2012), ‘Through a looking glass darkly: Television advertising, idols, and the making of fan audiences’, in P. W. Galbraith and J. G. Karlin (eds), Idols and Celebrity in Japanese Media Culture, London: Palgrave Macmillan, pp. 7293.
    [Google Scholar]
  41. Kei’s Channeru (Kei’sチャンネル) (2021), ‘[Ai no fujichaku] Ri jonhyoku ga yun seri ni nokoshita ano memo no ryōri o saigen! Pāto 2’ (‘[Crash Landing on You] – recreation of the meal from the note that Ri Jeong-hyeok left for Se-ri’), YouTube, 25 February, https://www.youtube.com/watch?v=l0EscF6-dvU. Accessed 8 October 2022.
    [Google Scholar]
  42. Kelly, William W. (2004), ‘Introduction’, in W. W. Kelly (ed.), Fanning the Flames: Fans and Consumer Culture in Contemporary Japan, New York: State University of New York Press, pp. 116.
    [Google Scholar]
  43. Kikka (@yejinlv_kikka) (2020), Twitter, 27 September, https://twitter.com/yejinlv_kikka/status/1310161441727500288. Accessed 8 October 2022.
  44. Kim, Youna (2013), ‘Introduction’, in Y. Kim (ed.), The Korean Wave: Korean Media Go Global, London: Routledge, pp. 127.
    [Google Scholar]
  45. King-O’Riain, Rebecca Chiyoko (2020), ‘“They were having so much fun, so genuinely …”: K-pop fan online affect and corroborated authenticity’, New Media & Society, 23:9, pp. 282038.
    [Google Scholar]
  46. Kitahara, Minori (北原みのり) (2020), ‘Hanryū ikemen no kenshin-tekina ai sakka mo hamaru dorama “Ai no fujichaku” sono shinsen’na miryoku to wa?’ (‘Dedicated love of a Korean handsome man. What is the fresh charm of Crash Landing on You drama that even writers fall for it?’), AERA dot, 6 June, https://dot.asahi.com/aera/2020060400031.html?page=1. Accessed 8 October 2022.
  47. Kuwahara, Yasue (2014), The Korean Wave: Korean Popular Culture in Global Context, London: Palgrave Macmillan.
    [Google Scholar]
  48. Lee, Hyangjin (2017), ‘The Korean Wave and anti-Korean sentiment in Japan: The rise of a new soft power for a cultural minority’, in T. J. Yoon and D. Y. Jin (eds), The Korean Wave. Evolution, Fandom, and Transnationality, Lanham, MD: Lexington Books, pp. 185208.
    [Google Scholar]
  49. Lee, Hye-Kyung (2014), ‘Transnational cultural fandom’, in L. Duits, K. Zwaan and S. Reijnders (eds), The Ashgate Research Companion to Fan Cultures, Farnham: Ashgate, pp. 195207.
    [Google Scholar]
  50. Lee, Sangjoon and Nornes, Abé Mark (eds) (2015), Hallyu 2.0: The Korean Wave in the Age of Social Media, Ann Arbor, MI: University of Michigan Press.
    [Google Scholar]
  51. Marwick, Alice and boyd, danah (2011), ‘To see and be seen: Celebrity practice on Twitter’, Convergence: The International Journal of Research into New Media Technologies, 17:2, pp. 13958.
    [Google Scholar]
  52. McGinley, Sarah F. (2020), ‘Consuming butlers and curry buns. Cooking, becoming, and desiring with Black Butler’, in C. D. Reinhard, J. E. Largent and B. Chin (eds), Eating Fandom: Intersections Between Fans and Food Cultures, London: Routledge, pp. 10517.
    [Google Scholar]
  53. Mei (めい) (@may_kr_) (2020), Twitter, 27 September, https://twitter.com/may_kr_/status/1310206053036908544. Accessed 8 October 2022.
  54. Min, Wonjung, Yong Jin, Dal and Han, Benjamin (2019), ‘Transcultural fandom of the Korean Wave in Latin America: Through the lens of cultural intimacy and affinity space’, Media, Culture & Society, 41:5, pp. 60419.
    [Google Scholar]
  55. Minion (ミニオン) (@xbHaSxg1MSYP7K1) (2020), Twitter, 27 September, https://twitter.com/xbHaSxg1MSYP7K1/status/1310231237647196163. Accessed 8 October 2022.
  56. Mōri, Yoshitaka (2008), ‘Winter Sonata and cultural practices of active fans in Japan: Considering middle-aged women as cultural agents’, in C. B. Huat and K. Iwabuchi (eds), East Asian Pop Culture: Analyzing the Korean Wave, Hong Kong: Hong Kong University Press, pp. 12743.
    [Google Scholar]
  57. Morimoto, Lori (2021), ‘Transcultural fan studies as methodology’, in P. Booth and R. Williams (eds), Fan Studies: A Primer, Iowa City, IA: University of Iowa Press, pp. 5164.
    [Google Scholar]
  58. Morimoto, Lori and Chin, Bertha (2013), ‘Towards a theory of transcultural fandom’, Participations: Journal of Audience and Reception Studies, 10:1, pp. 92108.
    [Google Scholar]
  59. Nakamura, Kozue (中村梢) (2020), ‘[REPORT] son i-ejin ‘ai no fujichaku’ pyo chisu to saikai de mei shīn o nama saigen…-hatsu no onrainfanmītingu ‘Ai ni fujichaku’ de Nihon fan o miryō’ (‘Report. Son Ye-jin and Crash Landing on You Pyo Chi-soo meet again and live recreate a famous scene … First online Crash Landing on You fan meeting enchants Japanese fans’), Livedoor News, 29 September, https://news.livedoor.com/article/detail/18972532/. Accessed 8 October 2022.
    [Google Scholar]
  60. Oyakoshokudō (親子食堂) (2021), ‘“Ai no fujichaku” “Tokkebi 〜 kimi ga kureta itoshii hibi〜” Saigen meshi ni oyako de chosen!’ (‘Crash Landing on You and Goblin: The Lonely and Great God – mother and daughter food recreation challenge!’), YouTube, 19 June, https://www.youtube.com/watch?v=zwbK5xsAN64. Accessed 8 October 2022.
    [Google Scholar]
  61. Perks, Lisa Glebatis (2014), Media Marathoning: Immersions in Morality, Lanham, MD: Lexington Books.
    [Google Scholar]
  62. Price, Ludi and Robinson, Lyn (2016), ‘“Being in a knowledge space”: Information behaviour of cult media fan communities’, Journal of Information Science, 43:5, pp. 64964.
    [Google Scholar]
  63. Reinhard, CarrieLynn D., Largent, Julia E. and Chin, Bertha (2020), ‘Introduction: Food culture and fandom’, in C. D. Reinhard, J. E. Largent and B. Chin (eds), Eating Fandom: Intersections Between Fans and Food Cultures, London: Routledge, pp. 114.
    [Google Scholar]
  64. Rhein, Stefanie (2000), ‘“Being a fan is more than that”: Fan-specific involvement with music’, The World of Music, 42:1, pp. 95109.
    [Google Scholar]
  65. Rubenking, Bridget and Bracken, Cheryl Campanella (2021), ‘Binge watching and serial viewing: Comparing new media viewing habits in 2015 and 2020’, Addictive Behaviors Reports, 14, pp. 15.
    [Google Scholar]
  66. Satō, Naomi (佐藤菜穂美) (2020), ‘Nenkan 300-pon o miru Netflix no naka no hito ga osusume shitai, omowazu ikki mi shite shimau dorama eiga anime 12-sen’ (‘12 drama, movies and anime that you’ll binge watch, recommended by Netflix insider who watches 300 productions a year’), SoftBank News, 22 December, https://www.softbank.jp/sbnews/entry/20201222_02. Accessed 8 October 2022.
    [Google Scholar]
  67. Savage, Christina (2014), ‘Chuck versus the ratings: Savvy fans and “save our show” campaigns’, Transformative Works and Cultures, 15, https://doi.org/10.3983/twc.2014.0497. Accessed 22 April 2023.
    [Google Scholar]
  68. Seetharaman, Priya (2020), ‘Business models shifts: Impact of COVID-19’, International Journal of Information Management, 54, https://doi.org/10.1016/j.ijinfomgt.2020.102173.
    [Google Scholar]
  69. Siuda, Piotr (2014), ‘Fan cultures: On the impossible formation of global and transnational fandoms’, in A. M. Fellner, S. Hamscha, K. Heissenberger and J. J. Moos (eds), Is It ‘Cause It’s Cool? Affective Encounters with American Culture, Münster: LIT Verlag, pp. 295318.
    [Google Scholar]
  70. Statista (2022), ‘Share of tourists visiting for K-pop and Hallyu/Korean Wave experiences South Korea in 2019, by origin’, Statista, 21 June, https://www.statista.com/statistics/1134900/south-korea-tourists-visiting-for-hallyu-experiences-by-origin/. Accessed 8 October 2022.
    [Google Scholar]
  71. Suika (スイカ) (2022), ‘Comment: [Ai no fujichaku] ni tōjō shita Kan dora ryōri o tabezu ni saigen shitara kō natta! Futsukayoi, tsuyu jiki ni piritto yasai tappuri tabe rareru reshipidesu!’, YouTube, 11 June, https://www.youtube.com/watch?v=98c0oaj94-Q&t=398s. Accessed 8 October 2022.
    [Google Scholar]
  72. Sung, Sang-Yeon (2013), ‘Digitization and online cultures of the Korean Wave: “East Asian” virtual community in Europe’, in Y. Kim (ed.), The Korean Wave: Korean Media Go Global, New York: Routledge, pp. 13547.
    [Google Scholar]
  73. Suzuki, Tomoko (鈴木朋子) (2019), ‘Joshi kōsei wa kankoku ni muchū!? Dasanji kanryū būmu’ (‘Female high schoolers are obsessed with Korea!? The Third Korean Wave boom’), Plus Digital, 12 March, https://news.mynavi.jp/article/womansns-5/. Accessed 8 October 2022.
    [Google Scholar]
  74. Terranova, Tiziana (2000), ‘Free labour: Producing culture for the digital economy’, Social Text, 18:2, pp. 3358.
    [Google Scholar]
  75. Trzcińska, Julia (2020), ‘K-Pop fandom as a left-wing political force? The case of Poland’, Culture and Empathy, 3:3–4, pp. 11942.
    [Google Scholar]
  76. Turk, Tisha (2014), ‘Fan work: Labor, worth, and participation in fandom’s gift economy’, Transformative Works and Cultures, 15, https://doi.org/10.3983/twc.2014.0518. Accessed 17 April 2023.
    [Google Scholar]
  77. Uchi no gohan tabete miru?# O uchi gohan (うちのご飯たべてみる?#おうちごはん) (2020), ‘“Ai no fujichaku” karugukusu o tsukuttemita! [Kankoku dorama] salang-uibulsichag! Kalgugsu! Crash Landing On You!’ (‘I tried to make Crash Landing on You kalguksu! Korean drama “Sarang-ui bulsichak” kalguksu! Crash Landing on You’), YouTube, 5 November, https://www.youtube.com/watch?v=_yedJhU_5sE. Accessed 8 October 2022.
    [Google Scholar]
  78. Xandy (@xandybuns) (2020), Twitter, 27 September, https://twitter.com/xandybuns/status/1310221514218717184. Accessed 8 October 2022.
  79. Xiong, Amanda (2020), ‘K-pop connection: Maintaining fandom loyalty in K-pop and V Live’, B.A. thesis, Carlisle, PA: Dickinson College, https://dickinson.hykucommons.org/concern/etds/5ebae4c1-7195-460b-a4b5-1bc566a04fd5?locale=en. Accessed 22 April 2023.
    [Google Scholar]
  80. Yagasaki, Noriko (2021), ‘Impact of COVID-19 on the Japanese travel market and the travel market of overseas visitors to Japan, and subsequent recovery’, IATSS Research, 45:4, pp. 45158.
    [Google Scholar]
  81. Yamamura, Takayoshi and Seaton, Philip A. (2017), Japanese Popular Culture and Contents Tourism, London: Routledge.
    [Google Scholar]
  82. Yano, Christine R. (2004), ‘Letters from the heart: Negotiating fan–star relationships in Japanese popular music’, in W. W. Kelly (ed.), Fanning the Flames: Fans and Consumer Culture in Contemporary Japan, New York: State University of New York Press, pp. 4158.
    [Google Scholar]
  83. yejinarm (@yejinarm) (2020), Twitter, 27 September, https://twitter.com/yejinarm/status/1310197715196764161. Accessed 8 October 2022.
  84. yo⁺⁺⁺ (@binjinfeed) (2020a), Twitter, 27 September, https://twitter.com/binjinfeed/status/1310227765908570114. Accessed 8 October 2022.
  85. yo⁺⁺⁺ (@binjinfeed) (2020b), Twitter, 27 September, https://twitter.com/binjinfeed/status/1310184123080687617. Accessed 8 October 2022.
  86. Yokoyama, Yoko (2016), ‘Saigen-do takai! SNS de mitsuketa “manga meshi” ga oishisō’ (‘Very recreatable! Deliciously-looking manga food found on SNS’), Cosmopolitan, 10 November, https://www.cosmopolitan.com/jp/trends/recipe/matome/a3518/manga-food/. Accessed 10 October 2022.
    [Google Scholar]
  87. Yoon, Kyong (2018), ‘Transnational fandom in the making: K-pop fans in Vancouver’, International Communication Gazette, 81:2, pp. 17692.
    [Google Scholar]
  88. Your Korean Sister (2021), ‘Watch and follow Hyun-Bin’s cooking scene [Crash Landing on You]’, YouTube, 8 July, https://www.youtube.com/watch?v=4fYzH99d8hc. Accessed 8 October 2022.
    [Google Scholar]
  89. Yuu (@y1120324) (2020), Twitter, 27 September, https://twitter.com/y1120324/status/1310223290011582464. Accessed 8 October 2022.
/content/journals/10.1386/eapc_00100_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test