The anime community is wide, varied, and growing all the time. Every couple of years a significant tentpole anime comes out that brings in a whole new crop of fans to the medium, whether simply to visit or make a more permanent stay within its bizarre and inviting lodgings.
And yet for as diverse as anime’s following may be as, you know, a medium, people are quick to resort to mob mentality and pretend as if the community can be divided evenly into two halves, or worse, that the “other” is so minuscule as to not even really be worth mentioning.
But if that were all that was needed to be said, I wouldn’t just be oversimplifying anime discourse. In all likelihood, I’d be oversimplifying humanity. No, anime is no stranger to controversy. Just as frequently as a new tentpole anime comes out to bring in new people, some shows kick all kinds of hornet nests.
[TRIGGER WARNING: The following post contains analysis of sexual assaults and other topics related to sexual violence depicted or hinted at in the shows that will be discussed.]
It’s Women’s History Month and since yesterday at the time of posting was International Women’s Day, I figured I’d write a little something for the occasion that’s been on my mind for a while.
I get the impression that there is an idea shared among some anime watchers. That feminism – and particularly being a feminist – clashes with being an anime fan. But why? Is it the boobs? It’s the boobs, isn’t it? I mean, it would make sense. After all, sexualization is one of the elements of anime that – for better or worse – comes to mind first when describing it as a medium. We all seem to get it.
So naturally, some people don’t like anime for those reasons. And just as naturally, there are defenders of anime who will draw a fine line between those pesky feminists and all the “real” anime watchers out there. The two groups seem contradictory to one another. How on earth can a feminist be a true anime fan?! Well, joking aside, I am here to reveal to you the truth of watching anime as a feminist.
And the truth is, it ain’t that different from watching anime normally…
Video game adaptations are almost always bad. The best of them excel only on the condition that you overlook large caveats, be they performances, the script, or how faithful the project is to the original. Video games are hard to adapt. You’re either trying to appeal to fans and alienating movie-goers or vice-versa. Both can fail depending on what is being adapted and how.
In the mid-2000s’, Warren Ellis wanted to make a direct-to-video animated film based on Castlevania. While the script was approved by Konami, the work ended up stuck in production hell for years. Adi Shankar, a producer who went viral with his “Bootleg Universe” series of fan-films, eventually was approached about producing an animated series based on Ellis’ script. While he turned down the same idea for a live-action film, believing live-action wouldn’t fit, he was more than happy to work on this one.
So eventually, Netflix adapted Ellis’ script into an animated series produced by Powerhouse Animation, an American studio. The first season – all four episodes of it – came out in July of 2017 and took the internet by storm. Everyone, myself included, was instantly clamoring for more. With the release of the second season in the fall of 2018, the show revealed even more of its potential with a longer season, more character drama, and even better animation.
With the recently released and certainly shocking third season fresh in our minds, it might be good to look back on the series as a whole thus far. It’s certainly the best video game adaptation, but is that saying a whole lot? Is Castlevania more than just the sum of its gorgeous animation?
Anime is often accused of having way too much sexualization to truly take the medium seriously. So what do I think, having been invested in this medium for so long? Well, I take to this topic the same stance I have on most discussions about representation and content in media. Sexualization itself is not the problem. The problem, if you feel there is one, is in the execution and frequency of said sexualization.
I’m of the mind that sex appeal is a necessary part of media because sex and the wide array of emotions tied to it make it a great emotional appeal in a narrative. Of course, it has other, more obvious uses as well, but I don’t think we should be afraid of sex in media, we should be afraid of not having enough variety in our media to balance out that sex. Continue reading →