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Anime Fan-Oriented Works: Encountering Fan Narratives in Anime Crimes Division and Its North American Contexts

I was browsing the popular anime streaming service Crunchyroll one day in 2018, when I stumbled upon Anime Crimes Division,1 a web series created by Freddie Wong and Darnell Murphy. Produced under indie production studio RocketJump, and backed by Crunchyroll, the series stood out to me for several reasons: first, within an entire catalog dedicated to anime, this series was unique in being Englishlanguage and live action. Second, the protagonist of the series was portrayed by YouTube sketch comedian and voice actor SungWon Cho, known online as ProZD. And third, that RocketJump as a studio is known for integrating fan or niche subcultures into professionally produced projects (most notably Video Game High School, which ran on their YouTube channel from 2012– 14). Upon watching Anime Crimes Division, I discovered that it was entirely comprising injokes directed at anime fans, from characters eating Pocky as though chain smoking, to placing floating English subtitles above Japanesespeaking characters, to using clever turns of phrase calling back to anime series that viewers might recognize (e.g., the Maiden Abyss where the protagonists discover hostages references Made in Abyss, a 2017 anime that received Crunchyroll’s Anime of the Year award during their Anime Awards show, meant to mirror the Academy Awards). In short, the series offered a staggering number of crossovers between franchises, fan sentiments, and fan practices that I was personally familiar with. The connections that began to