Conceptualizing the Academic Anime Review

There’s been a lot written about how to write reviews. Of course I mean for anime and manga. Most of these essays focus on writing for your audience, or creating spoiler-free zones, or formulating objective positions, or avoiding plot summary blather. However, I feel like there’s one underutilized method of critical inquiry that can be adapted and adopted for reviews of any media, and of course that is the academic methodology.

But what do I mean by an “academic review”? Well, put most simply, the fundamental form of academic writing is the literature review, and the social tenet that holds academic published research together is the citation. If you don’t understand this latter point, hit up Google Scholar, throw in a search term, and you’ll see that the “most important academic works” are those with high “cited by” counts.

Anyway, so how can we provide an academic bent to review writing? Well, there are technically already “academic reviews” available: simply pick up a copy of Mechademia and flip to the back pages, where you’ll find a host of critically insightful reviews of anime and manga titles. These reviews provide references to and citations of other academic texts, but tend to avoid other reviews from professional reviewers, other academics, or whomever.

The idea I would like to put forth in this short article, though, is that there’s another type of “academic review” that is not really used: reviews that reference previously-written reviews, as if the networks of reviewers mirrored the networks of academics that make up contemporary academic research matrices.

Looking through some criticism about writing reviews for anime and manga, once in a while I see authors writing, “So-and-so has already said enough about this title, so I don’t really have much more to say.” But I want to criticize these stances, because a reviewing author should take into account what others view about a piece of media, at the very least to inform his or her own opinion in the review-to-be-written.

I’ve been meaning to add more reviews of anime and manga titles to this blog, but I’ve continually taken the approach of writing critical, exploratory essays about the titles rather than mere reviews. So starting soon, I’m going to attempt to publish a few academic reviews on this blog that reference reviews currently written in the blogosphere.

Of course, I perceive an interesting gap in the current anime/manga blogging phenomenon, which is that there’s not much written about what both the Japanese- and English-language spheres are saying about a particular work. In the hopes that this will help (read: force) me to translate more Japanese writing about anime and manga, particularly from notable — though probably random — Japanese bloggers, I’m going to start writing reviews that reference the current discourse on Japanese popular media. Because that’s what academic is all about: creating, interacting with, and maintaining critical discourse about topics.

I hope that this will help foster greater communication between, or at least appreciation and understanding of, the Japanese and English fandoms.

I’d love to hear what others have to say about this referential approach: please leave comments! And hopefully I’ll have a review up in the next week or so. I’ll be starting with Asano Inio‘s relatively-unknown manga, Goodnight Punpun (Oyasumi Punpun).

Show Me Your Moves: The Akiba Dance Image as Evidence Toward a Greater Understanding of Otaku Temporality

Been thinking a bit about true otaku culture recently (as in, our friends the Japanese ファン), what with Patrick Galbraith’s new book out on the Japanese market (and a fall release for the American audience on the way).


Akiba-kei.

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Seiyuu Politics: Full Metal Alchemist & Voice Actor Idolization

In the States, there seems to be a strange, cult-ish fan following for American voice actors. Contrary to the past, when early anime conventions hosted a fair number of Japanese guests, today the Economics of Cheap dictate that instead of flying over Japanese voice actors (seiyuu) most conventions host a multitude of American-based dub voice actors. The American voice actors, in the past decade, seem to have accumulated an uncanny number of fangirls/boys that follow their every move. Anime News Networks‘ web comic, Anime News Nina, an occasional source of true-to-earth fandom critique, also identified the overzealous passion exuded by most contemporary fans in one comic at the beginning of Fall 2008.

I wonder if, due to greater access to online resources and subsequently to information straight out of Japan, American fans will begin to follow more news about Japanese seiyuu. This is not meant to be a foreshadowing of catastrophic events, in that the American dubbing industry will collapse in the next few years, but more a question as to whether anime fans today are throwing it back to their otaku roots and searching for every minutiae of news from overseas in the morass of infoporn on the Web. I wonder too if the popularity of American voice actors validates that the American dubbing industry will in fact not collapse and, while not necessarily thriving, is not doing that bad, because fans are buying media to follow voice actors. Otherwise, I can just give up and bow to the fact that fans are just rabid for anything, particularly signatures.

But if fans are actually going online to look at Japanese seiyuu activities, they would have in the past few weeks been caught up in the explosion of excitement that following Newtype Magazine’s announcement about the new Japanese voice acting cast for the new, second season of Full Metal Alchemist.

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