This paper will argue that isekai anime is different from the genre fantasy due to its cultural history tied to the Japanese game and anime industry use of media mix. First, a literature review on...Show moreThis paper will argue that isekai anime is different from the genre fantasy due to its cultural history tied to the Japanese game and anime industry use of media mix. First, a literature review on what "genre" is will be provided to lay a foundation for the readers, as this should help understanding the "why" and "how" isekai as a genre can be seen seperately from the fantasy genre argued in this paper. Examining the narrative tropes, the character's self-awareness and game mechanics in specific isekai anime, compared to the classic fantasy stories: Alice in wonderland and The Wizard of OZ will reveal similarities, but more importantly its difference. How is isekai different will be discussed in the final chapter where this paper will examen Japan's anime and game industry, the history and influence of noteble phenomenon "media mix" and Japan's work culture that all clearly make up for the genre isekai.Show less
This thesis aims to provide an overview of how certain gendered narrative tropes have made their way from action-adventure film and television into video game stories of the same genre, of the...Show moreThis thesis aims to provide an overview of how certain gendered narrative tropes have made their way from action-adventure film and television into video game stories of the same genre, of the differences that have arisen between these types of media, and of why we can recognise these differences. It does so through an analysis of the 21st century in television and film, in order to outline gendered tropes regularly found in these media. This is followed by a discourse analysis of three case studies: Tomb Raider (2013), Horizon Zero Dawn (2017) and The Last of Us: Part II (2020).Show less
