It's a heretical sentiment to anyone, British or no, who grew up with Dredd as a comic book icon. Comparing Psycho-Pass' protagonist - a timid girl fresh out of the academy - to a Dirty Harry homage that was progressively retrofitted with philosophies from Thatcher's Britian, Fascism and the Cold War seems tortured at best.
On the face of it, Hiroki Azuma calling otaku "Database Animals" seems self explanatory; you only have to look as far as sites like MyAnimeList or AniDB to understand the near feral desire to categorise and analyse and verify. Were that the whole story, Otaku: Japan's Database Animals would be an unfulfilling read which thankfully is far from the reality.
Contention follows any Kyoto Animation production; adoration and scorn is heaped upon them as a studio as much as their output (or absence thereof). Hyouka is their next work after Nichijou (or the K-On! movie for chronology purists) and initially drew ire for its glacially sedate pace as well as one of the protagonist's aesthetic similarity to fan favourite Mio.
Following its own tempo, the series is content to plod determinedly along sometimes wallowing in the most pedestrian of storylines while others frolicking through names and motives with little care for foreshadowing or context. Ostensibly this is a mystery show with each case being either a one-shot or stretched out to three episodes or more. The former are the most forgettable and while the latter may comprise the bulk of the series, it isn't until well into the mid teens that characters begin to hit their stride.
Punks have been a staple of anime for as long as it's been around. The 2012 spring season alone features at least two shows - Accel World and Medaka Box - featuring them prominently in the opening episode and with the upcoming Kids on the Slope sporting a central character who fits the definition.
At the heart of the punk idea is a rebellious youth, whether part of a gang or standing alone, a delinquent or just misunderstood, there exists an endearing quality to them that crosses countries and societies. These are far from the 70's and 80's image of Sid Vicious and The Sex Pistols and closer to that of James Dean in Rebel Without a Cause.