Intan Elisa Putri Milenia, Dian Bayu Firmansyah

Directive Speech Acts and Its Response on Japanese Anime “Tensei Shitara Slime Datta Ken”

Introduction

Directive speech acts and its response on japanese anime “tensei shitara slime datta ken”. This study classifies Rimuru Tempest's directive speech acts in "Tensei Shitara Slime Datta Ken" and analyzes interlocutor responses, noting relationship influence.

Abstract

This study aims to classify the directive speech acts used by the character Rimuru Tempest in the anime Tensei Shitara Slime Datta Ken and analyze the responses of interlocutors to these directive speech acts. The research employs a qualitative descriptive approach, with data collected from character dialogues across episodes 1 to 15 of the anime. The data were analyzed and categorized based on Namatame's (1996) directive speech act theory. The findings indicate 24 instances of directive speech acts, categorized into five types: commands (meirei), with 11 occurrences; requests (irai), with 5; prohibitions (kinshi), with 3; permissions (kyoka), with 3; and suggestions (teian), with 2. Additionally, 18 responses to these directives were positive, while 6 were negative. Analysis suggests that the relationship between the speaker and the interlocutor influenced response types. Results also show that the character Rimuru Tempest predominantly used requests (irai) in their directives.

Review

This study offers an initial exploration into directive speech acts within the popular Japanese anime, "Tensei Shitara Slime Datta Ken," specifically focusing on the character Rimuru Tempest. Utilizing a qualitative descriptive approach and Namatame’s (1996) theory, the research systematically classifies directive speech acts and analyzes interlocutor responses across the first fifteen episodes. The findings provide a structured overview, identifying 24 instances across five categories, with commands and requests being the most frequent, and reporting a greater prevalence of positive responses. The stated aim to connect response types with speaker-interlocutor relationships is particularly promising for understanding the pragmatic dynamics within the narrative. While the study presents a clear methodology and a structured classification of speech acts, there are some areas that warrant further attention. A notable inconsistency in the abstract states that commands were most frequent (11 occurrences) but then concludes that Rimuru Tempest predominantly used requests. This discrepancy requires clarification, as it impacts the accuracy of the main findings. Furthermore, while the study notes the influence of speaker-interlocutor relationships on responses, the abstract does not elaborate on the depth or specific mechanisms of this analysis, which is crucial for a comprehensive qualitative study. Expanding on how these relationships were observed to influence responses would significantly strengthen the study's analytical contribution. Despite these points, the research provides a valuable foundation for understanding pragmatic phenomena in Japanese popular culture, an area ripe for linguistic inquiry. Future work could benefit from addressing the reported inconsistency and deepening the qualitative analysis of the speaker-interlocutor dynamics, moving beyond mere quantification to provide richer insights into the *why* behind the responses. Expanding the dataset to include more episodes or other key characters could also offer a broader perspective on directive usage and reception within the anime. Overall, this paper makes a pertinent contribution to the application of speech act theory in media studies, laying groundwork for more detailed pragmatic analyses.

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