Susan Napier sucks and her books suck. I think reading them in current year shows their age as both lacking in actual content and having various myopic and uninteresting interpretations of the anime discussed. I think some people like them as undergraduate teaching material, but I never liked it.
As for Database Animals, some of the issues in reading something like Hiroki Azuma's Otaku is that it presumes some working knowledge of theory. In the very beginning of Azuma's book, he notes:
Otaku/DatabaseAnimals said: The term “postmodern” will be used repeatedly throughout this work. However, due to limitations of space I have refrained from conducting a lengthy explanation of the term. I leave the definition of postmodernity to the numerous introductory books on the subject and hope, moreover, that those interested may refer to a theoretical piece about postmodernity on which I am currently working.15 Of course, I will incorporate an explanation of the concepts to the extent necessary for the following discussion to flow without referring back to such texts. Here I ask merely that you briefly note that when I refer to postmodernity, I am speaking of the period since the 1960s or 1970s, or in terms of Japanese history, the period marked by the era following the Osaka International Expo in 1970—in other words, “the cultural world since the 1970s.” Now I think it's entirely possible to read Database Animals without really understanding what postmodern, postmodernity, and postmodernism are (and before you ask, yes those are different things), but there are situations that clearly reference the works of postmodernists. See:
Otaku/DatabaseAnimals said: Instead, the core of a work lies in the database of settings. Therefore, in the mind of the otaku, even if derivative works violate original works (at the level of the simulacra), the originality of the original works as information (at the level of the database) is protected and respected. Rather it is thought that, from the standpoint of authors of the derivative works, the increase of simulacra should raise the value of the originals. Of course, in reality the existence of the copyright should preclude such sensibility. However, more than a quarter century after the birth of the Comic Market, it is important to know the background of such psychology One can read the term "simulacra" as just the dictionary definition of something imitating something else, but the usage here is very specific; Hiroki is specifically referencing the work and philosophical theories of French critic Jean Baudrillard, known for his famous work Simulacra and Simulation. "At the level of the simulacra" refers to a specific level of unreality stipulated by Baudrillard, and while it's not necessary to reading the book, I think you're missing a significant amount of the social and cultural information if you haven't engaged with the works that Hiroki is talking about, Baudrillard included.
The same goes for some of the other major works in "Anime theory," like The Anime Machine by Thomas LaMarre or his later book The Anime Ecology. Many of these works are situated towards academics and, unsurprisingly, their works are pretty tedious in academic jargon and terminology, and they require some working knowledge of a larger philosophical and critical tradition. And even if you got through them, I don't know if you'd really come out of it being any more of an anime connoisseur than you were before. If anything, you might just come out of them thinking that people get paid a salary to interpret anime with the dry and mundane social theories of Bruno Latour.
If you want to get your feet wet, then I'd recommend looking up Mechademia, which was a magazine dedicated to publishing writers related to Japanese pop culture at the University of Minnesota, and Beautiful Fighting Girl by Tamaki Saito. I have issues with Saito, especially with some of the bullshit he spouts elsewhere, but I think BFG itself is fine. |