The Journal of Anime and Manga Studies 2020-11-15T18:08:51-06:00 Billy Tringali Open Journal Systems <p>The Journal of Anime and Manga Studies (JAMS) is an open-access journal dedicated to providing an ethical, peer-reviewed space for academics, students, and independent researchers examining the field of anime, manga, cosplay, and fandom studies to share their research with others. JAMS is peer reviewed by scholars with experience in these areas. The goal of JAMS is to explore anime as an art form and bring visibility to the deeper meanings, understandings, and/or cultural significance of anime, manga, cosplay, and their fandoms. Please review our <a href="">Author Guidelines</a> before submitting your piece.</p> <p>The Journal of Anime and Manga Studies<br><span class="il">ISSN</span>&nbsp;2689-2596</p> ‘Wolves or People?’ 2020-05-06T09:37:43-05:00 David John Boyd <p>This essay examines an alternative eco-familial reading of Mamoru Hosoda’s manga film, Wolf Children (2012) through an analysis of Japanese extinction anxieties further exacerbated by 3/11. By reading the film through a minor history of the extinction of the Honshu wolf as a metaphor for 3/11, I argue that an examination of the degradation of Japanese preindustrial “stem family” and the fabulative expression of species cooperation and hybridity can more effectively be framed by the popular Japanese imaginary as a lupine apocalypse. In a reading of Deleuze and Guattari on becoming-animal, the omnipresence of lupine loss in the institutions of the home, work, and schools of contemporary Japan, interrogated in many manga, anime, and video game series like Wolf Children, further reveals the ambivalence of post-3/11 artists as they approach family and the State in seeking out more nonhuman depictions of Japan. In this reading of becoming-wolf, Hosoda’s resituates the family/fairy-tale film as a complex critique of the millennial revival of a nuclear Japan in the age of economic and environmental precarity and collapse. I hope to explore the nuances and contradictions of Hosoda’s recapitulation of family through a celebration of Deleuzo-Guattarian pack affects and an introduction of the possibilities of “making kin,” as Donna Haraway explains, at the ends of the Anthropocene.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 David John Boyd "I Hear You Just Fine": Disability and Queer Identity in Yuki Fumino's I Hear the Sunspot 2020-05-17T15:47:40-05:00 Corinna Barrett Percy <p>Yuki Fumino’s currently ongoing series, I Hear the Sunspot, is a manga that provides a voice for those on the “outside” of society as it examines Japanese cultural attitudes toward both disability and homosexuality. Employing a range of characters, the manga confronts the problem of compulsory able-bodiedness and the need for disabled persons to fill prescribed roles, the process of moving away from self-isolation to self-acceptance, and the debate between living insularly within a disabled community or community building between disabled and nondisabled communities. Fumino uses the figure of Kohei to represent the struggles of self-acceptance as it relates to intersectional queer and disabled identities, and the figure of Taichi to represent the ‘bridge’ of community building as a catalyst to this self-acceptance in a society where both disabled and queer communities are seen as outsiders.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Corinna Barrett Percy Embedded Niche Overlap 2020-05-15T13:44:47-05:00 Finley Freibert <p>This article offers an industrial history of yaoi anime’s distribution in the United States by companies that acquired official distribution licenses. During the course of this history, the term “yaoi” was not always dominant in American anime vernacular; rather, it only ascended to widespread American usage after it was adopted by American distributors as an industry term. Yaoi anime’s complex distribution history reveals that, unlike yaoi manga, yaoi anime began and continues to be industrially situated at the overlap of seemingly disparate niche categories.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Finley Freibert Desiring Futures 2020-06-02T13:58:04-05:00 Leo Chu <p>In this paper, I analyze the animated television series <em>Puella Magi Madoka Magica</em> based on a variety of literary critical methods: neo-noir criticism, feminist epistemology and studies of technoscience, and discussion of utopia/dystopia imagination. My focus is on the depiction of desire and hope, as two interconnected but potentially conflicting concepts, in <em>Madoka Magica </em>which presents different philosophical edifices related to them as one central narrative tension. On the other hand, the feminist methods I utilize will demonstrate how the “genre subversion” the series introduce can be read alongside with not only magical girls’ struggle against their fates in the fiction but the real power structures and asymmetries in (post-)modern society. By highlighting the difficulties to resist a future and ethics imposed from the standpoint of dominant social groups as well as the attempt to solve such impasse by the series, the paper argues that <em>Madoka Magica</em>, while not committing itself to the creation of a radical alternative to the existent political or economic systems, has nonetheless affirmed the possibility and importance to have hope for futures that are yet to be imagined.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Leo Chu The Indigenous Shôjo 2020-07-12T12:14:46-05:00 Christina Spiker <p>Little scholarly attention has been given to the visual representations of the Ainu people in popular culture, even though media images have a significant role in forging stereotypes of indigeneity. This article investigates the role of representation in creating an accessible version of indigenous culture repackaged for Japanese audiences. Before the recent mainstream success of manga/anime Golden Kamuy (2014–), two female heroines from the arcade fighting game Samurai Spirits (Samurai supirittsu)—Nakoruru and her sister Rimururu—formed a dominant expression of Ainu identity in visual culture beginning in the mid-1990s. Working through the in-game representation of Nakoruru in addition to her larger mediation in the anime media mix, this article explores the tensions embodied in her character. While Nakoruru is framed as indigenous, her body is simultaneously represented in the visual language of the Japanese shôjo, or “young girl.” This duality to her fetishized image cannot be reconciled and is critical to creating a version of indigenous femininity that Japanese audiences could easily consume. This paper historicizes various representations of indigenous Otherness against the backdrop of Japanese racism and indigenous activism in the late 1990s and early 2000s by analyzing Nakoruru’s official representation in the game franchise, including her appearance in a 2001 OVA, alongside fan interpretations of these characters in self-published comics (dôjinshi) criticized by Ainu scholar Chupuchisekor.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Christina Spiker Book Review 2020-06-02T13:57:39-05:00 Andrea Horbinski <p>Review of <em>Manga from the Floating World: Comicbook Culture and the </em>Kibyôshi<em> of Edo Japan </em>(2nd ed.) by Adam L. Kern.</p> 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Andrea Horbinski Why Here? Why Now? Why JAMS? 2020-10-11T21:46:43-05:00 Billy Tringali 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Billy Tringali Table of Contents 2020-10-11T23:21:57-05:00 Billy Tringali 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Billy Tringali Dedication 2020-10-08T16:40:02-05:00 Billy Tringali 2020-11-15T00:00:00-06:00 Copyright (c) 2020 Billy Tringali