Takeuchi Osamu, a professor of media studies at Doshisha University, is likely not the best manga studies critic to use as an introduction to problems surrounding the relatively recent turn in Japanese manga studies discourse to formalism or, more specifically, to the study of manga expression (manga hyōgen), since his work is something of a too easy target. It is parochial—his examples, despite pretensions toward general principles, are exclusively Japanese—and has changed surprisingly little since the late 1980s, despite the fact that his contemporaries, such as Natsume Fusanosuke and Yomota Inuhiko, and the manga expression discourse in toto have changed considerably in the intervening years. Yomota’s Manga genron (Principles of Manga) makes reference to at least some non-Japanese comics artists, notably Windsor McCay, and in the introduction to a recent translation of two chapters of his Tezuka Osamu wa doko ni iru (Where is Tezuka Osamu?), Natsume reflects on how limited this early formalist work was and, if reproduced today, would have to be understood within the context of a global comics studies discourse:
At the time I wrote this book, my interests generally centered on postwar Japanese manga, and the scope of my inquiry was almost entirely limited to Japan. If we were to consider European and American influences on manga from the Meiji period [1868-1912], the discussion in this book on transformations related to time and panel articulation would link to world-historical questions of modernity (changes in the expression of time and space in modern times)… Future research will surely depend on sharing knowledge and intellectual exchanges between scholars in different countries.
While a turn away from more parochial concerns is admirable, a broadening of perspective on manga-as-comic expression is not guaranteed to overcome or even make apparent a number of assumptions underlying the study of manga expression as it emerged historically and in direct response to the currents of nearly two decades of manga criticism that preceded it. In order to make those assumptions more apparent, my use of Takeuchi’s critical oeuvre here is directed more toward discourse analytical ends than toward a detailed explication of what his theory of manga expression entails.
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