How to Research and Learn Manga, Anime, Games, and Pop Music at Keio University? — Report on the "Keio University Joint Symposium of Three Entertainment Courses"

2023/03/23

Image: Scene from the symposium

Manga, anime, games, and pop music—it goes without saying that the group of contents categorized today as entertainment and subculture, even if they are commercial and popular products, raise important issues that extend beyond that in various aspects of modern society. Therefore, no one would object to regarding these as a field of academic knowledge and making them subjects of research and educational activities. In fact, student interest in these genres is high, and there are many Keio students who wish to find employment in the industry, as well as many Keio University alumni active in corporations. Even if not for employment, there are many students who wish to study manga and anime at the university, from taking classes to writing theses, and even aiming for research positions in this field. On the faculty side, we are entering an era where the generation that grew up watching manga and anime is becoming the mainstay, and some are conducting research activities and developing classes in connection with their own specialized fields. However, these remain individual activities, mere dots on a map, and it is difficult to say that there is coordination or organization to facilitate research and educational activities in the entertainment and subculture fields across Keio University as a whole, including the affiliated schools. In terms of connecting existing academic knowledge with an understanding of popular culture, and the balance between tradition and progress, the current state of Keio University in this field may not be leaning sufficiently toward change.

This time, to take a step toward solving this problem, the "Keio University Joint Symposium of Three Entertainment Courses" was held (December 17, 2022, Mita Campus G-Lab). The realization of this project originated from the fact that in the 2022 academic year, three endowed courses targeting entertainment and subculture were launched simultaneously and spontaneously at Mita and Hiyoshi. However, considering the circumstances mentioned above, it could be said that this was not a coincidence, but a necessity.

At the symposium, after an explanation of the purpose by Mario Kumekawa, Vice Director of the Keio University Art Center, Etsushi Harada, a visiting member of the center, explained the outline of the course "Entertainment Communications Theory" (hosted by the Keio University Art Center (KUAC); an endowed course by the Japan Association of Music Enterprises and NexTone Inc.) offered at the Mita Campus. In this course, the world of the entertainment industry, centered on music, and its future are the subjects of discussion. The music market is analyzed by classifying it into four layers: "1. Creators, 2. Producers, 3. Distributors (Rights Business), and 4. Receivers (Fandom)." Based on this, the class consists of two elements: classroom lectures by top-tier guest instructors active in each field, and active learning by students who select one of the above layers. The former is substantial enough to be published as a lecture record, and the latter is a curriculum that also fosters independence, with students themselves giving group presentations on the world of entertainment and its future.

Next, Susumu Niijima, a faculty member of the Faculty of Economics, introduced "Game Studies" (a course established by the Keio Research Center for the Liberal Arts; an endowed course by Koei Tecmo Holdings Co., Ltd.), which newly opened at the Hiyoshi Campus in the fall semester of 2022. This course is an omnibus-style class that examines the current state and potential of digital games from three perspectives: culture, industry, and technology. A characteristic feature is that, in addition to inviting researchers specializing in game studies from outside the Juku, Keio University faculty members give lectures on digital games based on the knowledge of their own specialized fields. Niijima also appealed for the need for the university to prepare its response for accepting international students—who will likely increase in the future—coming from overseas to learn about domestic and Japanese subcultures.

Finally, Atsuo Nakayama, a visiting researcher at the Faculty of Economics, gave a presentation on "Entertainment Business Theory" (an experimental course established by the Keio Research Center for the Liberal Arts in 2022, to become an official course from next year; an endowed course by Akatsuki Inc.), which he took the lead in establishing. This course aims to analyze the entertainment industry cross-sectionally, based on Nakayama's experience as a producer promoting game, anime, and sports businesses for overseas markets. The subjects of the first year's lectures are games, manga, anime, publishing, theme parks, and sports business. At the same time as gaining a bird's-eye view of business models for each industry and return on investment by work, the course aims to draw out student interest through dialogues with industry professionals currently active on the front lines as producers and creators. While the entertainment industry often focuses on domestic content, the fact that this course centers on overseas expansion is a distinguishing feature. This course is also intended to be published as a book of lecture records, and its results are expected to encourage the development of industrial human resources and the revitalization of the industry itself, beyond the university.

After a break, a Q&A session with the floor was held, moderated by Ryotaro Mihara, a faculty member of the Faculty of Economics who lectured in all three courses. Regarding the creation of a new research organization within Keio for subcultures, Vice-President Yukihiro Ikeda also took the stage. Regarding its feasibility, the challenge of how to overcome the negative effects of departmental silos was pointed out. In addition to students, many industry stakeholders were in attendance, and voices were heard expressing expectations for the strengthening of Keio University's support system in this field.

The important thing is not to let this symposium be a one-off event, but to begin concrete actions to organize research and educational activities in the entertainment and subculture fields within Keio. We would like to ask for the assistance of motivated faculty and staff.

(This article was prepared by the three symposium speakers.)