Anime is not a genre – but considering genres is one of the ways to at least begin critically approaching Japanese animation. In this way, Rayna Denison presents a focus on anime genres “because of the way genres are often seen, like anime, to operate as cultural categories or phenomena”. And, as Denison points out, studying genres calls for an awareness not only of differences between them, but also of their “meanings”, such as the ways that both audiences and critics respond to particular ones. This kind of awareness can highlight instances where particular genres draw popular attention, but remain relatively obscure in terms of criticism and analysis. Denison herself uses the example of horror anime, while Lucy Fraser and Masafumi Monden, in The maiden switch: New possibilities for understanding Japanese shōjo manga (girls’ comics) have examined “early 1980s and 1990s shōjo manga that were primarily targeted at the youngest band of readers, stories with early adolescent heroines in light, romantic, and fairytale-like narratives” – in contrast to “texts that enact more explicit gender subversion”.
isekai (literally ‘different world’) is an anime and manga genre whose plots usually consist in a main character that enters (or is forcibly transported) to a fantasy world, whose setting can combine fantasy Middle Age elements with a science fiction or steampunk appeal.
Oscar García Aranda, Representations of Europe in Japanese anime: An overview of case studies and theoretical frameworks
One genre where this kind of gap between popularity and critical recognition is particularly prominent is isekai. Definitions for it include “(literally ‘different world’)…an anime and manga genre whose plots usually consist in a main character that enters (or is forcibly transported) to a fantasy world, whose setting can combine fantasy Middle Age elements with a science fiction or steampunk appeal” (Oscar García Aranda, Representations of Europe in Japanese anime: An overview of case studies and theoretical frameworks), and “a specific genre of storytelling in which people move from one world to another, usually through some sort of a portal such as a gate or a doorway” (Giovanni Tagliamonte and Yaochong Yang, Isekai: Tracing interactive control in non-interactive media), although these authors add to the definition, noting that “isekai usually refers to a specific set of qualities: amateur-publishing, fantasy worlds with varying levels of game-like qualities, and a self-reflexive commentary aided by platform publishing”, and as a recent Japan Times report notes, isekai has “dominated the manga and light novel markets“. But beyond a few essays and articles such as these and Zachary Samuel Gottesman, The Japanese settler unconscious: Goblin Slayer on the ‘Isekai’ frontier, and Tani Levy, Entering another world: A cultural genre discourse of Japanese isekai texts and their origin in online participatory culture, it remains a genre that is yet to attract significant scholarly attention.
It is with this mind that Dr. Michael Cserkits has announced a call for papers for an Explaining Isekai essay collection. Proposals of 200-400 words for papers on range of topics, such as the history of isekai, gender and social aspects, violence and the military, and case studies of particular titles, will be accepted until January 23, 2023. The expected length for the final papers is approximately 5000-7000 words, with expected submission in August 2023.
The full Call for Papers is available below and at https://networks.h-net.org/node/73374/announcements/11213439/explaining-isekai-%E2%80%93-call-contributions.
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Nominations for the awards are accepted both from peers and from authors directly. Eligibility for this year’s awards is established by the copyright or presentation date of the original presentation – i.e., only those books or articles that were published or presentations at conferences that were held last year. All winners will receive a cash award of $300 and a plaque. The e-mail address for submitting nominations is 
However, one effort to do precisely this is the 
2019 Contemporary Directors Symposium
Just about a year ago, the Comics Studies Society, itself just founded in 2014, announced the launch of one of its major projects – four annual prizes to recognize “outstanding contributions to the study of comic art” in the form of monographs, journal articles and chapters in edited collections, “public scholarship” (i.e., contributions to non-academic publications), and conference presentations by graduate students. Nominations for the prizes were accepted from both peers/readers, and from authors themselves, and I for my part certainly welcomed the opportunity to nominate several papers on manga published in 2017 that I felt would deserve the recognition.