Demonic Fox Kurama's Essay
Demonic Fox Kurama's Essay
I wrote this essay for my politics ISP when I was still in highschool. Pls. e-mail me if you wish to post any part of it on your site. I don't mind if you post up little chunks of it, or the whole thing, but bear in mind that my highschool has a copy of it on file so I would prefer if you'd notify me before doing so. Pls. give me due credit if you like any of the info you see, I worked very hard on it =*( To get an idea of how to use this essay on your page, check out my friend Yu_kii's site. Just click onto the "Anime Shop" when you get there.
An Exploration of the Media Involving the Anime Subculture
and its Impact on North American Society
In present North American society, the idea of an animated program is thought to be as geared only towards children. It is common to see predictable plots and platitudes such as the �superhero� genre, fueled by the popularity of characters such as �Superman�, facing simple good vs. evil plots, with little attention paid to significant details such as character development. Although Disney has been praised for its animation, many of its films have fallen into the trap of being too predictable, with villains who are wholly evil, and not very believable (e.g. the �Little Mermaid�s Ursula). By contrast, manga and anime deal with complex, thought-provoking themes, presenting complex characters that grow/change, as the story progresses. It tends to deal realistically with life and death, and even the villains have hopes and dreams of their own. The viewer can see that the enemies have reasons for what they do, and aren�t just crazy (e.g.) �Rurouni Kenshin�s� Hajime Saitou:
�But that has nothing to do with me, one of the losers of the new era. If I can spend the remainder of my life at something interesting, that�s enough. Killing is my specialty, so this work is all I could desire as a sideline. And if the job is eliminating an old enemy...Even so, one thing doesn�t make sense. Why would anyone want to assassinate a vagabond wandering the countryside? Who commissioned this job--� (Watsuki, vol. 7).
Anime was recently re-introduced into mainstream television by broadcasts of �Sailor Moon� (Bishojo Senshi Sailor Moon), and the Japanese blockbuster, �Dragonball�. Previously, it held a cult status of retail periphery, and was �a genre was confined to a clique of hardcore fans and collectors� (Reece 1). Recently, mainstream broadcasts of the movie �Ghost In The Shell� on �Viewer�s Choice Pay-Per-View�, as well as showings on �Teletoon� and the �Space Channel� have enabled the genre to enter into mainstream society. Unfortunately, due to the Western stereotype that cartoons are only for children, many parents complained about the themes addressed in the movies broadcast on �Teletoon� and as a result, both �Dragonball Z� and all showings of anime movies were canceled. By an in-depth analysis of four anime/manga titles which are currently popular both in Japan and North America, the messages and values carried within these shows will be examined, followed by a look at the anime subculture in North America, and its increasing popularity.
Watching television is very popular in Japan. In many households, the television is turned on practically always, when somebody is at home. Dramas, news, and sport programs are the most popular program types. Many of the ideas expressed in Japanese media are very original, and try to teach the viewers something about nature, history, science, or other cultures. All of these themes have expressed through both live-action and anime programs. As cable TV is not common in Japan, most imported movies and series are broadcasted on pay TV channels. By contrast, although watching television is popular in North America, many of the shows viewed are controversial (e.g. Jerry Springer), and thrive on sensationalism. Seldom is there a valuable lesson to be learned on the numerous talk shows or dramas popular in North American society. The news has also been watered down to meet political standards, while current issues are often brought to light through satire (e.g. South Park). Aside from the satire of cartoons like South Park and the Simpsons, animation is for the most part geared towards younger children, and the lessons learned are very simplistic.
Hayao Miyazaki is a famous Japanese director whose many films deal with nature, history, and culture. His staggering success in the film industry has even caused Disney to take notice, as they have gained international rights to nine animated titles from Studio Ghibli, the company which produces his work. Miyazaki�s latest release, �Mononoke Hime� (Princess Mononoke), was nominated for �Best Foreign Language Film� in the �Academy Awards� this year. It �is scheduled for release next year in the US as Princess Ghost� (Tashiro 3). Mononoke Hime is a historical drama (Muromachi Era 1392-1573) involving the conflicts of civilization and nature. In the midst of a war between the Tatara (a group of working class people) and animals of the Japanese forest, a young boy (Ashitaka) meets a young girl (San/Princess Mononoke) who has been raised in the woods by a female wolf god. He tries to persuade her to become �human�, but instead they come to an understanding of each other�s world and make an attempt to coexist without hatred and violence.
�We are not trying to solve the (modern) global problems. There cannot be a happy ending to the fight between raging gods and humans. However, in the middle of the hatred and killings, there are things worth living for. A wonderful meeting or a beautiful thing can exist� (Miyazaki).
The story may sound simplistic; however, Miyazaki introduces complex messages in the film, such as the members of the Tatara, who include lepers and women freed from bonded prostitution. There is no �right� or �wrong�, as the Tatara �are not portrayed as senseless offenders of nature; they cut down trees to make steel so that the disadvantaged can have a place in society� (Gale 2). Mononoke Hime stands out, because it does not glorify to struggle between man and nature. While the activities of man are regarded poorly, it is not the main theme of the movie so it does not matter which side is right or wrong, or if the conflict is resolved. �What is important, is that you are alive. And perhaps this is the strongest environmental message of all� (Upatkoon 2).
Contrasting Miyazaki�s dark themes of humanity, is Rumiko Takashi�s comedy �Ranma 1/2�. This show has become immensely popular in North American anime subculture, mainly because of its political incorrectness. The story-line involves a teenage boy (Ranma) who has fallen into a cursed spring, to the effect that he physically becomes a woman, whenever doused with cold water. Hot water reverses the change; however, only temporarily, as he will change if doused again. Other characters inflicted with the curse include his father Genma, who becomes a panda, and his rival Ryoga, who becomes a tiny black pig.
�Unlike heavy-handed superhero shows, the subversive humor and often sophisticated themes of Ranma 1/2 attract one of the most diverse audiences of all animated programs on sale today. Children enjoy the wacky martial arts action, while adults appreciate the character-driven storylines. Because of Ranma�s own unique �problem,� female viewers are especially intrigued by the series� (Viz Video)
The title was created in 1987 and ended in 1996 (Japan). In North America, the show�s third season is currently being released on video, and volume 11 of the manga has been published. Some of the controversial plot-lines include an episode where Ranma gets amnesia, and really thinks he is a woman, the main theme of arranged marriage with tomboyish fianc�e Akane Tendo �Don�t we have some say in who we marry? / Akane�s right, Daddy. We�ve never even met Ranma� (Takashi, 11). A controversial character in the series is the lecherous martial arts master Happosai, who must steal woman�s underwear in order to gain power. As this cartoon is one of the best adapted anime shows, it is also one of the most expensive to collect. Video cassettes range from $24.95 to $34.95 US each. An interesting point about the show, is that it was created by a woman, and in a country where women are often regarded as secondary to men, she has become increasingly popular.
Neon Genesis Evangelion is a program that is currently very popular in both Japan and North America. Its origins stem from a Sega Video game, as a lot of anime tends to, (e.g. Streetfighter) and was first classified as sci-fi TV drama, but is now seen as intelligent and psychological. Neon Genesis Evangelion was a 26-episode TV series that was originally broadcast from October 1995 to April 1996. Neon Genesis Evangelion was broadcast between 6:30 and 7:00 every Wednesday, and since this time zone was thought to be of as a children�s hour, there was some criticization of its violent, bleeding, and intertwining scenes. Unlike the case of �Teletoon,� the authorities did not prohibit TV-Tokyo from broadcasting it. Since its ending, there have been two movie re-writes of the last episodes: �Death and Rebirth� and �The End of Evangelion.� The main theme of the story is the rise and fall of 14-year-old Shinji Ikari. After a global disaster known as the �Second Impact,� �Nerv,� a defense organization run by Shinji�s estranged father, creates fourteen giant �robots� called �Evas,� in order to defend the earth against alien beings known as �Angels.� The �Evas� require special pilots, and Shinji is called to be one of them. This may sound like your typical �superhero drama,� but this show is as far from it as it can get. Creator Anno Hideaki describes Neon Genesis Evangelion as �nothing more than his attempt to put his raw emotions on film...his emotive source seems to be the keen line between lust and the killing urge� (Rider 3). Throughout the story, Shinji reaches the point of life and death, and has very psychological monologues about life and death. These monologues are often thought provoking and analyze the meaning of life, and his place within it, through his relationships with his estranged father �He has no people skills and thinks of the children, including his own son, as little more than tools.� (McCarter 1), his mother Yui, who unknowingly to Shinji, has been consumed by Eva Unit 01 (Shinji�s Eva), and the people around him. In one episode where an inner monologue occurs, Shinji cannot bring himself to kill an Eva invaded by an Angel because he knows that within the entry plug (the cockpit), there is a child like him trapped inside. As a result of his �incompetence,� his father severs all life support systems in Shinji�s Eva, and he lands in the hospital. Creator Anno borderlines insane, as he previously wanted to commit suicide during the run of Neon Genesis Evangelion. �Most of the Eva fans waited for Anno�s suicide and a certain pre-arranged termination� (Fanglang 1). Anno decided to finish Eva with a love to human beings instead, as they saved him from killing himself. Some of his thinking; however, has been described as �a cathartic maelstrom, probably best visualized as like trying to read tea leaves while standing outside during a typhoon� (Rider 4). Currently, Anno Hideaki (or Hideaki Anno in English), is trying to wean to fans of the anime industry away from it, as he has described it as stagnating. �Perhaps Anno has the right idea: kick the masses out of their complacency so the creators can move on and make something new, something not of the same old flavor� (Rider 4).
Like Mononoke Hime, television show �Rurouni Kenshin� is also a historical drama. Rurouni Kenshin takes place in Tokyo, Meiji 11 (1878), and is thought to be the second most popular title in Japan. It began its broadcasts in 1996, and it is still running. Recently a movie has also been produced. Although the show is only available in North America through fan-subbers and specialty stores (bootleg copies), there have been plans to legitimately bring it over as �Samurai X.� Rurouni Kenshin is creator Nobuhiro Watsuki�s debut into the world of manga (comic art). Himura Kenshin (Eng. Kenshin Himura), the main character, is a vagabond (rurouni) who formerly was a master assassin (hitokiri) in the Bakumatsu (end of the Tokogawa era that established the Meiji era). Having made a vow to never kill again, Kenshin carries a reverse blade (sakaba sword) in which the part that would normally be used for cutting has been dulled. �A sword is a weapon. Kenjutsu is the art of killing. Whatever pretty words you use to speak of it, this is its true nature� (Watsuki vol. 1). Unlike some of the younger protagonists so common in Japanese animation, Kenshin is a believable age at 28. In his soap-operatic life, he has been orphaned, abandoned, enslaved, married, and widowed. As silly as this may sound, creator Watsuki has written these events in a realistic fashion so they seem believable. For instance, one of Kenshin�s physical characteristics is a cross-shaped scar, formed on his left cheek. The scar was formed through the events in which he was married and widowed. �The cross-shaped scar is not made by one person. One of the pair is made by Mr. Jubei Shigekura...� (Fanglang 1). As a master assassin, he killed his wife-to-be�s fianc�, who was a renegade. During the fight, he had managed to slash Kenshin�s face. She in turn sought him out for revenge, but instead married him for convenience (it concealed her identity as a spy, and his as a master assassin). They grew to love one another; however, Kenshin murdered her during a fight with the members of her clan, in which he was temporarily blinded. The second half of the scar was made by her dagger. Rurouni Kenshin also uses real historical figures and events throughout its story-line, one of them being the assassination of Governor Toshimichi Okubo in Meiji 11. Hajime Saitou was also a real person during this time period, and in the show, he is one of the main-supporting characters �Hajime Saitou was a master swordsman. He worked as an assistant vice-commander (Fukuchou Jokin) of the Shinsen Gumi Company� (Fanglang 1). Nobuhiro Watsuki�s usage of true historical people and events is one of the things that have made this show so popular. Some of his influences for his character designs have been from other popular anime shows such as Neon Genesis Evangelion, and American comics such as X-men. Kenshin is a very popular character because he meets the current trend in Japanese men. �Machismo is not welcome any more by girls in Japan. This reflects the present Japanese society where boys become feminine and kind and devote themselves to their female partners� (Okada 3). His personality during the past (used to be called Hitokiri Battousai) is regarded as almost a split personality by his close friends. Kaoru, the main female character of the show provides him with lodgings she maintains with her jobs (budo -- sword arts ins tructor) while he cooks, cleans, runs errands. He is somewhat like a traditional housewife personality wise, except when he is �saving the day,� and even his character design is very girlish (short, long hair, slight build). Like most book translations into movies, there are some differences from the manga and the TV show (such as the fact they have yet to state Kenshin�s age in the television show), yet these are very minor discrepancies, as the main essence of the show has been preserved. The show actually started off very light themed, but at the end of its first season, it became darker, as Kenshin�s �split personality� was explored.
�In my days here, while my heart was at ease, I felt like I had changed from the Hitokiri to an ordianry swordsman...But the fight with Saitou forced me to realize it. My innermost heart has not changed. The madness of the Hitokiri still lives inside� (Watsuki vol. 7).
Currently anime subculture is thriving in America; however, has dimmed in Canada due to limited exposure. Where anime is widely available in the US, it is much more rare in Canada. Also, because anime movies are broadcast in mainstream movie theatres, they appear in mainstream publications such as Billboard, USA Today, ABC news, Time. Like the live-action film industry, anime has every genre, from children�s, to perverted, and as a result, these publications usually focus on the negative forms of Japanese animation �And just as animated anime are more violent and visceral than American cartoons, so manga are much more adult, with graphic sexuality and violence� (Bloch 3). A misconception posed here may be between the differences of graphic sexuality and casual nudity. In North American culture, any form of television nudity is viewed as inappropriate, as it usually leads to sexual conduct. By contrast, in Japanese media, casual nudity isn�t considered to harmful to children, as many families partake in things which involve nudity, such as public baths, which are very much a part of traditional Japanese culture. As a result, many innocent anime television shows contain brief nudity in non-sexual situations. It is usually easy to determine whether or not a program is explicitly designed for adult audiences, and it is up to the viewer to choose the genre they would like to watch -- no different from renting a video in your local video store.
The anime subculture has lasted for quite a number of years, and it has the full potential to continue to grow. Although its impact in mainstream Canadian society was short-lived, the remainders of it are still present, as �Sailor Moon� is still being broadcasted, and mainstream record stores like �Music World� are still selling videos. As what is popular in the States usually influences Canadian pop culture, it is only a matter of time before anime finds its niche in society. Already a resurgence of Japanese cult movies are returning with the recent release of �Godzilla,� and both South Park and the Simpsons have done comical satires of the Japanese film industry. Anime has come a long way from its former cult status, and as long as the media continues to thrive, there will always be a place for anime.
1. Bloch, Mark �Go West, Speed Racer, Go: Japan�s Anime Earns U.S. Fans� copyright 1998 ABCNEWS and Starwave; www.abcnews.com/sections/World Daily News
2. Fanglang, Dr. �Various articles on Neon Genesis Evangelion and Rurouni Kenshin�; copyright 1997, 1998; www. geocities.com/Tokyo/4081/
3. Gale �Hayao Miyazaki�s Mononoke Hime�; www.pages.nyu.edu/~gss200 /Mononoke.html
4. McCarter Charles �Neon Genesis Evangelion Genesis 0:1 Vol. 1 Issue 5�; www.ex.org
5. Okada, Masaki �Japan Between the West and Asia� and �Japanese Television� www.dtnet.or.jp/~ja1ma/inter/inter.html
6. Reece, Doug �Anime in Action: Female Rebels, Demonic Invaders and A Slew of Hot Fourth-Quarter� Billboard: 10/26/96, Vol. 108 Issue 43
7. Rider, Scott �Ex-clusive Vol. 2 Issue 7� www.ex.org
8. Takashi, Rumiko �Ranma 1/2 Vol. 1� San Francisco, CA: Viz Communications, 1993
9. Tashiro, Hiroko �Time: Girl Meets Wolf Vol. 150 No. 10� www.pathfinder.com/ time/magazine
10. Upatkoon, Ivevei �The Princess Mononoke Vol. 2 Issue 7� www.ex.org
11. Video, Viz �Ranma 1/2 promotional flyer� San Francisco, CA: Viz Communications, 1996
12. Watsuki, Nobuhiro �Rurouni Kenshin Manga Vol. 1 and 7 translations� www.geocities com/Athens/Olympus/6655 and www.hkstar.com/~kenshin/rurouni /emain.htm
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