The Crossover of Anime and Japanese Theatre

Kayson Carlin

Bowling Green State University

October 10, 2018

 

The Crossover of Anime and Japanese Theatre

            Perhaps the most recognizable Japanese theatre performance is Kabuki, known for it’s lavish costumes, make-up, and dramatic effects. In the late 1960’s, a new sub-genre called Super Kabuki was birthed, sometimes referred to as the “Hollywood” of Japanese theatre. Kabuki actor Ichikawa Ennosuke formed his own company with the idea of modernizing Kabuki. Ennosuke trimmed dialog, sped up the delivery of lines, and alternated fast-moving action scenes with slower ones that reveal emotion and characterization. He employed modern set, costume, and lighting designers, and revived theatrical trickery like quick costume changes, cascades of real water on stage, and flying on wires over the stage and out over the audience (Hornby p.517). This type of freedom in creativity and performance matches particularly well with anime, which commonly employs fantastical settings, complex physical actions, and deep characterization on screen. Using techniques and stunts from Super Kabuki, anime stage adaptions have found it’s niche within Japanese theatre.

Within a few years of the emergence of Super Kabuki, anime and manga were introduced to the stage. In the early 1970’s, the Takarazuka Revue, an all-female performance troupe, saw declining popularity in their productions. Fearing the end of the company, they sought after new, popular stories and adaptions to bring in greater audiences. In 1974, the Takarazuka group unveiled one of the first anime adapted performances ever; Riyoko Ikeda’s Rose of Versailles (1972). This led to an increased interest in not only theatre, but the respective source material as well. For the next 30 years, Japanese theatre would see more popular culture, such as anime and manga, make it’s way to the stage, including the supremely popular Sailor Moon in the mid-1990s. However it wasn’t until 2003, with the production of Prince of Tennis the Musical, that theatre saw such an influx of anime derived adaptions. “If you see a video clip of this musical it becomes abundantly clear who the audience is: every major event in the show is met with a chorus of screaming female voices. And the production knew who the audience was, too: there were even completely unnecessary “locker room” scenes that seemed to exist just so the protagonist could be seen taking off his shirt (Sevakis, 2017). Prince of Tennis attracted a large female audience, due to “fanservice” scenes not originally included in the manga or anime, and “arguably made it into a phenomenon” (Sevakis, 2017). Despite it’s relatively low budget, it proved to be a success and garnered demand for more adaptations.

One major overlap of stage and anime that should not be ignored, is super sentai performances, dating back to 1975. Super sentai refers to a group (literally “taskforce”) of heroes in masked disguises that fight evil, demonstrating the power of teamwork and justice. Though “Super Sentai” is technically a brand name, there are many live shows directly inspired from it, and always aimed at children. These shows often involve dramatic action scenes and exaggerated acting, as seen in super kabuki. Many times, after the super sentai performances gained enough of a fanbase, animated specials would be produced for capitalization, eventually leading to full anime series for broadcast. One facet of acting that originated in kabuki, found its way into sentai, and then took place in anime, is the concept of “mie”. Mie is a pose struck by an actor, who then freezes for a moment (Japan Arts Council, 2018), to draw attention to an important part of the play, such as the introduction of a new character, showcase powerful emotions, or even to display their costume. This transferred to sentai shows, as performers (mostly protagonists) would do a mie when they entered the stage, highlighting their arrival. Children would often call the hero’s name, similar to a kakegoe in traditional kabuki. This aspect then made its way to the animated product, and then other anime, providing a visual cue to viewers. One example is Sailor Moon, in which all the main characters have their own signature pose when they arrive to fight the bad guys. These poses then became a trademark of certain characters and turned into a tool for merchandising. Although most anime nowadays has strayed from specific posing of their characters, mies can still be seen in many superhero anime.

When talking about theatre adaptations of anime, it’s important to recognize there are three main types of adaptions; super kabuki, stage plays, and musicals. While they may seem similar, each has its own uniqueness in how it interacts with anime and popular culture. Super Kabuki is actually a trademarked name, so very few anime and manga-based performances are specifically described as super kabuki due to licensing issues. Two of the more famous ones are Naruto: The Live Spectacle (2018) and Super Kabuki II: One Piece (2015). The former is extremely faithful to the style of the original manga, while the latter combines traditional kabuki aesthetic with anime designs. For example, the majority of the actors in Super Kabuki II: One Piece have white, painted faces with bold make-up (AnimeSamurai, 2016) to further pronounce facial features. Even the costumes are reminiscent of traditional kabuki outfits, though expertly meshed with the modern style of the anime character’s; Luffy’s trademark red jacket is replaced with a red happi, incorporating historical Japanese culture.

Stage plays are the most commonly performed anime-based theatre production. Like any artistic medium, the stage play provides fans with a new experience, emphasizing interactivity and real-life immersion into the characters and their stories (Nora, 2018). These productions are given more freedom to stay faithful to the source material, in terms of costume design, action scenes, and story progression. In Yona of the Dawn (Tsubota, 2018), stage design and direction are more similar to western stage plays. There are multiple layers of backgrounds for characters to appear on, as well as hidden exits for actors to disappear at the end of their scene. Music and sound effects are prerecorded as opposed to performed live, despite the fact that traditional instruments such as the koto and shamisen can be heard in the background. The same is true for another stage play, InuYasha (Takahashi, 2017). Though the setting takes place in feudal Japan and the score is entirely composed of shakuhachi (bamboo flute), koto, and the like, the music is prerecorded for convenience. It’s also worthwhile to note that some scenes contain prerecorded dialogue for the actors to lip sync; this is usually done during a scene with complex choreography to prevent the actors from using all their stamina, as well as provide better audio quality to the audience.

There’s no limit to the type of adaptions produced; 2018 will see a stage play about scantily-clad girls fighting evil with magical katanas (Animate Times, 2018). A new play of the science fiction series, Gundam 00, will debut in 2019 (Sunrise, 2018), though it’s not yet known if the signature giant robots will be large puppets or projections.

The third category of anime theatre is musical adaptions. While some are akin to stage plays with musical numbers thrown in, a substantial amount are centered on a specific singer and/or band. These are unique because they’re based on Japan’s “idol culture”. Recent years have seen a surge of fictional girl groups and boy bands, especially when it comes to mobile games. Players can dress up the singers, tap along to their songs, and unlock stories that progress the over-arching plot. As the mobile game’s popularity increases, so does the chance for an adaption of either anime or live-action musical. More often than not, the games are developed into anime series, followed by musical stage performances featuring the voice actors from the original game. This is something to note because the themes and narrative are exclusively music-centered, as opposed to a storyline in which songs are simply added to further development. As an example, High School Star Musical, or Starmyu (NBC Universal Entertainment Japan, 2016) is about a group of boys who attend a high school for rising stars in music and dance. The songs are performed only when the characters are giving some sort of concert within the script, as opposed to a seemingly random musical number that appears in western musicals. This differentiates anime musical adaptions from other types of anime-inspired theatre, because it specifically focuses on the music as a way to sell the product (i.e. the anime, game, or merchandise of a favorite singer). In a way, this could be described as “idol theatre”, as it is always about an idol group of some sort rising to stardom.

Production for anime-inspired theatre is usually taken on by large troupes in major cities, such as Tokyo, Kyoto, or Osaka. This is because acquiring the rights to said anime can be difficult and expensive, as the licensing belongs to either the original manga artist or the animation studio. At this time, it is unknown how negotiations are made in terms of profit/sales and financing between the theatre and license holders. Some theatres, such as Himawari Group, specialize in only a few anime based productions of Rurouni Kenshin (2019), and Free! Dive to the Future (2018). Most of their performances however, are non-anime based (Himawari, 2001). On the opposite spectrum is 2.5 Dimensional Musical Association, an organization that only does productions based on anime, manga, and video games. 2.5 Dimensional Musical Association, also known as 2.5D Theatre is described as “theatrical presentations based on Japanese manga, popular animation, and video games. The meaning implies such theatrical shows exist somewhere between 2D, the realm of manga, anime, and video games, and 3D, the realm of the theater” (Japan 2.5 Dimensional Musical Association, 2013). Though the name of the company explicitly includes “musical”, there are also performances of stage plays, comedy, and drama. Previous productions include Sengoku BASARA (2009), Pretty Guardian Sailor Moon (2013), Death Note (2015), and Touken Ranbu -Online- (2017). 2.5D Theatre also employs cutting edge technology in their shows, such as drones, holograms, and video projections. They even offer special glasses that will translate the play directly on the eye piece as subtitles, in one of four languages (F. Corinna and F. Gali, 2016). Technological advancements can propel theatre, especially in the case of anime, where realism is not of great concern.

Different types of theatre itself has also influenced a variety of anime series. Kabuki-bu (2017) is a recent series that focuses on a boy attempting to create a kabuki club at his high school. Another recent series, Hanayamata (2014), centers on a blonde-haired foreigner who comes to Japan to learn dances such as kagura and yosakoi. The story follows her efforts to get Japanese locals interested in the traditional art. Bungaku (puppet theatre) is represented in Puppet Master Sakon (1999), though is not centered on the art itself, rather taking a supernatural mystery route. Series such as Glass Mask (2005) and Kaleido Star (2003), involve theatre more explicitly as both settings take place in acting and performing troupes, dealing with the challenges that arise when on stage. Theatre, both western and eastern, greatly influence the narrative and composition of Princess Tutu (2002), in which episodes are displayed as if it were a stage play. Even anime without an obvious element of Japanese theatre can sometimes find ways to sneak in this cultural aspect. For example, in Macross Frontier (2008), a science fiction story about fighting aliens in giant robots, the main character comes from a prestigious kabuki family where he is famous for his female roles. Furthermore, it takes place in a hybrid city of Tokyo and San Francisco, displaying characteristics of Japanese theatre as well as Chinese opera and American plays.

Interestingly enough, the west has seen some Japanese anime and manga on its own stages. In 2014, Company One in Boston, Massachusetts, debuted Astro Boy and the God of Comics, based on the internationally famous manga artist Osamu Tezuka and his 1950’s manga (Aucoin, 2014). When looking at theatrical productions of pop culture in both America and Japan, there’s a contrast between audience’s expectations. Westerners are familiar with plays that rely heavily on dialogue and technical realism, with little in the way of acrobatic choreography. After all, if they wanted to see action, wouldn’t they go to a movie instead? These plays clearly require a suspension of disbelief that is not often asked of Westerners (Sevakis, 2017). Japanese audiences, on the other hand, have familiarity in imagining and expressing what isn’t tangible. A good example is the use of fans, particularly in kabuki and rakugo, where the fan can be used in place of the actual object, such as a weapon. For Western audiences, it would be much more acceptable to have the actual prop, but in Asian theatre it is considered perfectly believable. Such techniques ‘transcend the nature of what is possible’ (Ivanova and Vickery-Howe, 2017), allowing for the fantastical side of anime and manga to show through. they carry a tremendous expressive potential because they engage the audience’s spatial, interpersonal and linguistic aptitudes which allow them to create meaning by drawing simultaneously on images and movement, gesture and body language, acoustics (chant and rhythm) and dialogue (Ivanova and Vickery-Howe, 2017).

The crossover between anime and theatre is a strange, but not a completely uncalled for practice. Given the immense popularity of anime, in both Japan and overseas, it was only a matter of time before it made its way into other creative aspects. Just as theatre has been influenced by anime, so has anime by theatre, as the arts are irrevocably intertwined. It could be argued that this has a negative aspect; some claim that combining a high culture entertainment as theatre with popular culture only brings down its sophistication, and should be kept “pure”. Others argue that incorporating pop culture breathes fresh air into theatre, which risks growing stale. When done well, however, anime and performing arts can have a symbiotic relationship. It definitely encourages appreciation for the craft of theatre and for the anime fan, it brings them closer to the stories and characters they love (Nora, 2018). After all, both are mediums used by storytellers to invite others into another world.

 

 

References

A., Nora. “Of Song, Dance, and Anime: A Look At Anime Stage Play Adaptations.” 15 February 2018. Akibento. <https://akibento.com/blog/2018/02/15/song-dance-anime-look-anime-stage-play-adaptations/&gt;.

Animate Times. 舞台『刀使ノ巫女』メインビジュアル解禁. 5 10 2018. <https://www.animatetimes.com/news/details.php?id=1538722857&gt;.

Aucoin, Don. “Company One’s ‘Astro Boy’ a sci-fi parable with punch.” 22 July 2014. The Boston Globe. <https://www.bostonglobe.com/arts/theater-art/2014/07/21/company-one-theatre-astro-boy-and-god-comics-sci-parable-with-punch/8UZZbOgXmMeUUc7fkvSBmK/story.html&gt;.

F., Corinna and Gali F. Blog and News. 2016. <http://animeonstage.com/?page_id=22&gt;.

Himawari. 事業紹介. 2001. <http://www.himawari.net/about/company.html&gt;.

Hornby, Richard. “Kabuki Goes Hollywood.” The Hudson Review 61.3 (2008): 516-522.

InuYasha. By Rumiko Takahashi. Tennozu Galaxy Theater, Tokyo. 19 April 2017.

Ivanova, Maggie and Alex Vickery-Howe. Dramaturgy of Mobility: Crossover and Fusion. Melbourne: La Trobe University, Theatre & Drama, 2017.

Japan 2.5 Dimensional Musical Association. 2.5D AiiA Theatre. Shibuya, 2013. Brochure.

Japan Arts Council. Mie. 2018. <http://www2.ntj.jac.go.jp/dglib/modules/kabuki_dic/entry.php?entryid=1272&gt;.

NBCUniversal Entertainment Japan. Shuffle Revue. n.d. 7 October 2018. <http://star-mumu.com/sr/&gt;.

Samurai, Anime. “Anime Stage Plays.” YouTube, 11 May 2016. <https://www.youtube.com/playlist?list=PLVhXmWqxTKXcqbvd1yOCs2Oc_dgDCv668&gt;.

Sevakis, Justin. Answerman. 8 February 2017. <https://www.animenewsnetwork.com/answerman/2017-02-08/.111904&gt;.

Sunrise. 舞台『機動戦士ガンダム00』. 27 August 2018. <http://www.gundam00.net/stage/&gt;.

Takarazuka Revue Company. History. n.d. 10 October 2018. <http://kageki.hankyu.co.jp/english/history/index.html&gt;.

Yona of the Dawn. By Fumi Tsubota. Dir. Takuya Matsumoto. EX Theater Roppongi, Tokyo. March 2016.

Beyond the Binary: Gender Performances in Asian Theatre

Kayson Carlin

Bowling Green State Univeristy

November 28, 2018

 

Beyond the Binary: Gender Performances in Asian Theatre

Recent years have seen a surge in attention to issues concerning gender, as if the topic were a new phenomenon. However, history is saturated with gender issues, from defining what gender is exactly, to determining what role one should play in life based on genitalia, to debating if gender has a spectrum of identities or forms. In the world of arts, the line between male, female, and other is frequently blurred, especially in the performing arts which pays great attention to the human form. Theatre is notorious for crossing this line. It should be noted though, that the idea of gender itself varies from region to region. What is considered masculine, feminine, or androgynous in western theatre differs from that of Asian theatre. As such, theatre in Asia includes great variation when it comes to performances on the gender spectrum.

Japan has one of the most notable reputations for gender bending not only on the stage, but in other popular entertainment as well. There exists a sort of androgyny for what is considered attractive, as seen in comics, television, film, and celebrities. This could be partially explained by Japan’s history of cross-dressing entertainment, such as Takarazuka and Kabuki’s onnagata.

The term onnagata refers to a female impersonator on the kabuki stage. Women in kabuki groups often consisted of nothing more than prostitutes (Bowers p.44) or were considered too “alluring” for the audience to watch, and resulted in their nation-wide ban on performing in the mid-17^th century. From 1629 on, male actors, the onnagata, played women’s roles (Leiter p.495). Such actors were specifically designated female roles rather than portraying both men and women on stage. Far from what may be thought in the west, this was, and still is, a respected art. In the onnagata‘ s early years, roles of power went to male-role actors while dance was the onnagata‘s specialty (Leiter p.502). From this portrayal of women, the onnagata created an idealized version of femininity, based on what men thought women should be like. They created an abstract idea of a woman, becoming a stylized version instead of someone specific (Scott p.3). Some accounts even included these actors who would live as women to better understand and perform femininity. Kabuki crossdressing is mainly a matter of men dressing as women rather than the reverse (Leiter p.512), though this later changes when women are allowed to perform again.

In 1629, any appearance of women on stage were forbidden, and until the 19^th century the ordinance remained tacitly in effect (Bowers p.44). Women were limited to behind-the-scenes work, such as costume construction. In the late nineteenth century, western-style theatre was introduced to Japan and challenged the custom that only men were allowed to perform on the stage (Chen p.54). Due to it’s influence, the constraints on gender began to loosen, and women stepped into the light. Although theatre offered women a platform, its policy was heavily informed by the male stance, and its categorization of gender roles on the stage, in fact, accorded with Japanese social expectations of men and women (Chen p.58). The Takarazuka Revue, founded in 1913, was one of the first all-female performing groups in Japan. Less than a year later in 1914, The Takarazuka Girls Revue gave its first performance in the Paradise Theater, a converted indoor pool (Takarazuka Revue Company). Despite women playing the roles of men, the gender binary is strictly enforced. On the Takarazuka stage, gender is constructed in two categories; one is the otokoyaku (an actress playing the male role) and the other is the musumeyaku (an actress playing the female role). The categorization of otokoyaku and musumeyaku reinforces gender stereotyping of both male and female roles (Chen p.64). The two different genders on the Takarazuka stage are made distinct by the use of stylization in gesture, movement and voice; the otokoyaku emphasizes masculinity as she plays the male role whereas the musumeyaku highlights femininity as she plays the female role (Chen p.58). It’s interesting to note that while male characters (specifically love interests) attempt to adhere to the binary, they are not extremely”manly”, and instead are portrayed as androgynous with a masculine edge. Similar to the onnagata, otokoyaku is the idealized version of what women want men to be; strong and capable yet in touch with his feminine side.

China has an extensive history of traversing gender, most notably Mei Lanfang who was regarded as the greatest nandan (female impersonator) in living memory (Li p.39). This type of cross-dressing, male to female, can be said to have existed several hundred years prior to the Tang Dynasty. The earliest recorded instance of female cross-dressing (female to male) is found in the eighth century Tang Dynasty when actresses played the role of the male officer in a theatrical act known as “The military counselor” (Li p.33). However Chinese opera, and theatre in general, has gone through dramatic changes depending on political authority. In the Yuan Dynasty, under Mongol rule, male and female performers were free to appear on stage together. In fact, women prospered in theatre; the first fully developed Chinese theatre to emerge in the Yuan Dynasty favored female players and female cross-dressing (Li p.40). Furtermore, each play was, very uniquely, written as either a female role-type script (danben) or a male role-type script (moben). Despite this categorization, there were female players who, apart from playing the leading female role, also cross-dressed to play the leading male role, and equally certain that there were also men who played the leading male role (Li p.50). In the subsequent Ming Dynasty, however, such freedom was reigned in due to backlash of “not being Chinese enough”. Basically, anything that flourished in the Yuan Dynasty was seen as Mongolian, and needed to be replaced with more “Chinese” ways of thought. It was with this re-emergence of Neo-Confucianism under such conservative return to “Chinese” culture in Ming China that women were tightly confined to the private sphere (Li p.58). As such, began the stage practice of separating male and female actors. Due to these resrictions, cross-dressing became a necessity for the sake of the performance, especially for female roles, as women were restricted from public stages.

When discussing gendered performances in Chinese theatre, it’s important to mention “The Butterfly Lovers”, arguably the most celebrated folk tale in Chinese culture (Li p.109). The general narrative revolves around Zhu, a girl disguised as a boy in order to attend a prestigious school, and her male best friend, Liang, who is unaware of her true gender. After studying together for three years, Zhu is called home for an arranged marriage. She reveals her true gender to Liang, and despite falling in love, she is forced into her arranged marriage. Liang soon becomes ill, and dies, and at his funeral, Zhu commits suicide by throwing herself into his tomb. The two are then said to have turned into butterflies. While the story itself plays with gender, theatre has taken it to a new level for performance. The character of Zhu bends gender expectations, and as such, can be difficult to cast. Historically speaking, when women were prohibited from the stage, men would play female roles, as mentioned above. The actor for Zhu, then, would be a male, playing the role of a female, disguised as a male, resulting in a double cross-dressing act. In the Yuan period, when women performed on stage, the character of Liang would occasionally be played by a woman. In these instances of cross-play, it is important to note that the traditional Chinese construction of masculinity manifests itself in a variety of representations and is in many ways different from today’s Euro-American notions of masculinity (Li p.125). Therefore, having men and women playing oppsite sexes, is less transversive than western expectations. Today, “The Butterfly Lovers” is a popular performance put on by the Yueju opera in mainland China, which is basically female and is dominated by female players, although there are often a couple of male actors in each troupe (Li p.112). In the staging, on the physical level of the players, there are two women; while on the level of dramatic representation of the characters, it is a man and a woman (Li p.125), though the character of Zhu complicates which is which. The gender-bending of this play is a cornerstone in Chinese theatre and gender theory.

India has a complex approach when it comes to gender and theatre. Like Japan and China, Indian theatre has a history of dividing performers along the gender binary of male and female. However, in India there are people known as hijra, who are culturally recognized as a third gender, neither male nor female. This adds another layer to gendered performances on stage that is unique, though somewhat ambiguous and under researched.

Chhau is a performance belonging to the three contiguous States of Jharkhand (Seraikela), Orissa (Baripada) and West Bengal (Purulia), involving vigorous dance movements based on mythology, and is traditionally performed by males (Mehta p.1). Some movements, however, are modeled after the daily housework of women, such as sweeping, fetching water, and grinding spices. The Chhau dance at Purulia does not have many female characters, since its themes are from episodes of the epics of Mahabharata that do not have such characters. Women as performers have not yet been introduced to Chhau at Purulia, while Chhau at Seraikela and Mayurbhanj have an array of female characters and women as participants (Mehta p.10). Traditionally, Chhau had restricted women as performers, as the only women who performed in public were dancers known as devdasis, a type of courtesean or prostitute. Therefore Chhau is a heavily male dominated art form having had the traditional hegemony of not only male performers, but teachers and instrumentalists as well (Mehta p.39). Hijra, who are more commonly born male or intersex, were then designated to female roles (if there were any). Often this was one of the only ways to earn money, as their gender ambiguity caused scorn and adversity in mainstream society. Even today women do not have exclusionary rights to female performance roles as male artists continue to perform the female roles (Mehta p.74), though this is rapidly changing as there is no official decree banning women on stage. Where this leaves the hijra is unknown.

The common thread seen not only in Asian theatre, but theatre around the world is the restriction of the female sex at one point or another. As a necessity, cross-dressing proliferated, and blurred the lines of gender. Men performing female or feminine roles took precedence, despite the existence of women playing male roles, partly due to the fact that there was not much academic concern of them until fairly recently. In fact, some performers cannot be distinguished between male or female, resulting in being overlooked by historians. Thus, the gender binary of male and female in theatre is constantly being rewritten as new information comes to light. Perhaps in the future, this binary will be replaced by a spectrum of sex, gender identity, and gender expression, if it hasn’t already.

 

 

References

Banerji, Anurima. Odissi Dance: Paratopic Performances Of Gender, State, And Nation. New York University: UMI, 2010.

Bowers, Faubion. Japanese Theatre. Toronto. Canada: University of Michigan Press, 1952. Book.

Chen, Yilin. “Gender and homosexuality in Takarazuka theatre.” Performing Ethos 1.1 (2010): 53–67.

Kothari, Sunil and Avinash Pasricha. Odissi, Indian classical dance art. University of Michigan: Marg Publications, 1990. Book. 26 November 2018.

Leiter, Samuel L. “From Gay to Gei : The Onnagata and the Creation of Kabuki ‘s Female Characters.” Comparative Drama 33.4 (2000): 495-514.

Li, Siu Leung. Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2003.

Mehta, Gouri Nilakantan. Pan Indian Identities Of Female Performers. Miami University: UMI, 2004.

Scott, Margaret. “Transformer Controversial Kabuki star Tamasaburo Bando.” Los Angeles Times 22 May 1994. Newspaper.

Takarazuka Revue Company. History. n.d. 10 October 2018. <http://kageki.hankyu.co.jp/english/history/index.html&gt;.

 

Film Genealogy of Magical Girls

Kayson Carlin

25 April 2017

Bowling Green State University

 

Building A Genre Using Magic and Love

Over the past century, film has gained incredible momentum, from audiences watching a 46 second reel of workers leaving a factory, to multimillion dollar blockbuster hits that employ cutting edge technology. Auteurs were made, genres were discovered, and technology advanced. Throughout all these years, film has been intertwined with history, economics, societal expectations, cultural customs, religion- everything you can think of. The result is somewhat like a family tree; each movie, director, genre, etc is connected in some way or another, either directly or somewhere far down the line. Of course, the same can be said for everything in this world. But in this paper, I will look at a specific genre of animation, and how it connects to the bigger picture of film’s overarching genealogy, with an emphasis on Japan.

Animated movies have been made in nearly every major country with a film industry. Dating back to the early 19^th century, animation has been used to not only create spectacular visuals but to tell a narrative, or story as well. The technique of moving drawn images progressed differently in parts of the world, but none quite as uniquely as Japan. It even has its own name, to which everyone knows exactly what is being described – anime. Unlike the common western idea that all animated pieces are meant for children, anime is intended for any age group whether it be housewives or salary men, and is widely accepted. From emulating Walt Disney’s early cartoons to exploring modern socio-economical issues, anime has evolved to become the most popular medium used today in Japan.  Anime contains many different genres and sub-genres, but one of the most prominent is a genre known as “mahou shoujo” or magical girl. This genre originated in Japan in the early 60s, and although it has found footing in other countries, it is still uniquely Japanese. Though there are girl superhero films in the west, magical girl anime films feature elaborate transformation sequences and characters with more girlish, feminine appeal (Saito). These films are generally produced for a younger female audience, and features a “feel good” atmosphere. Themes of magical girl films tend to include love, friendship, magic, and happiness. There are, of course, later magical girl films that challenge not only the common ideas, but the entire construction of the genre.

In order to understand the history of the magical girl genre, first one must look back to World War II. The origins of this genre started in manga– a form of Japanese comic that came about during the war to provide some relief to citizens. Directly after the war, books and magazines boomed because they could be published with minimal labor, and used cheap material which was often recycled (Prough). Children rapidly consumed popular manga because it captured the whimsical life that they longed for, but couldn’t fully have. As the children grew up, publishing companies continued to churn out titles to match their consumer’s age. Eventually by the early 60s, those same kids were old enough to begin creating manga of their own (Prough). Initially it was mostly men authors who enlisted the help of their wives, but in the late 60s and early 70s there was a surge in female authors. This was because of influence from the feminist movement, which promoted female empowerment. Since these women had spent years working in the background of their male counterpart’s shadow, they too were skilled at creating manga and were finally making their way into the light of day. Encouraged by pro-female ideology, women authors began writing girl-centered manga, and one way to express their independence was giving the girl characters some sort of magical power. This was used as a metaphor for how “powerless” women felt under male oppression. By giving the character magical powers, they were literally giving them power to be strong on their own. By this time, anime began to adapt manga to capitalize on it’s popularity, which included the magical girl genre.

Prior to 1960, a vast majority of artists, writers, and filmmakers were men, and featured heavily on male-centric narratives. It wasn’t until the mid 1960s that positive female-centric stories were widely available, created by women themselves (Saito). A major contributing group to female visibility and empowerment, which later lead to the start of the magical girl genre, were the members of the all-female, Showa 24. The Showa 24 (named so because most of the members were born in 1949, the 24^th year of the Showa era according to the traditional Japanese calendar) created numerous manga with female protagonists, and female character driven plots which garnered the attention of women readers, who could identify with not just the characters, but the themes as well. Their artwork and layout was inspired from film, treating each panel as if it were a frame from a camera, adding diverse views of characters (Newitz). One creator in particular, Moto Hagio, is considered the “founding mother” of modern female manga, due to her unprecedented take on female-centric characters at the time, presenting them as complex human beings (Lunning). Later in the decade, the work of the Showa 24 would intersect deeply with the feminist movement, and come to be accepted as the original influence on magical girls, whose core values are empowerment, femininity, and friendship.

An interesting fact that should be known is that while the magical girl genre is uniquely Japanese, it was actually an American television series that planted the idea of adding magical powers. Bewitched (1964-1972), which featured a witch using magic in everyday situations, became a surprising hit in Japan. The popularity of this show largely contributed to the rise of magic appearing in creative works, especially with female characters. As stated previously, women with magical powers intersected with the feminist movement, as these characters were given control over their lives, as opposed to previously male-dominated positions.

In more recent  history, the roots of the magical girl genre has been prevalent in the works of Naoko Takeuchi, the creator of Sailor Moon (1992-1997). Inspired by the shows of the 60s and 70s, Takeuchi revolutionized the magical girl genre in the mid 90s (Newson). She combined aspects of male-oriented film, with female-oriented ideology. For example, a popular genre in the 1980s and 90s was super sentai– basically a team of mostly male superheroes that fought together for the common good, such as Power Rangers. Takeuchi took her individual magical girls and turned them into a sentai team, while adding more action not typically seen in girl’s films (Kotani). This broadened the audience demographic, putting the magical girl genre in the spotlight as it’s popularity exploded among male and female viewers. Not only did it create a worldwide boom, it’s effects can still be seen decades later.

Today the influence of the magical girl genre can be seen in western productions, mostly animation. Those who were initially introduced to Sailor Moon as children, were slowly exposed to more “mahou shoujo” works as Japanese companies could capitalize on the globalization. As a result, those children are becoming adults who work in the film, television, and media industry. More and more you see the influence of this genre spring up, especially in television shows. Rebecca Sugar, the creator of Steven Universe (Sugar 2013), an insanely popular series on Cartoon Network, credits magical girl anime such as Sailor Moon and Revolutionary Girl Utena (Ikuhara 1997) for her influences on everything from style to characters, visuals and plot devices. This is incredibly evident as there are scenes that directly pay homage to various magical girl films. The Disney Channel is currently airing Star vs the Forces of Evil (Nefcy 2015), which can be considered the first fully western magical girl series. The show comes complete with transformations, sparkles, and magical attacks. In fact, the creator has been reported as modeling the main character after Sailor Moon herself (Lunning). It can also be argued that Disney has taken cues from magical girls, such as in Frozen (Buck & Lee 2013). Elsa is the only female character to have supernatural and/or magical powers, while her sister Anna is without. While singing “Let It Go”, Elsa is seen transforming into a different outfit using her snow powers, akin to typical magical girl transformations. The overall theme of Frozen is love, friendship, and female empowerment, traits shared by the mahou shoujo genre. As time goes on, it’s clear this genre will continue having an impact on film, television, and media.

Overall, the magical girl genre is extremely fascinating. There are so many aspects and cultural conditions which brought about this unique genre. During my research, I could easily see each stepping stone that made it into what it is today. I believe that magical girls can go beyond anime, because of its core values and themes of empowering women. It can even be used as a tool to promote gender equality. Slowly but surely its influence is spreading across the globe, making its way into film, television, art, even literature. Not just the magical girl genre, but all anime has the potential to cross cultural lines to bring about new perspectives, just as western film has influenced the rest of the world. It really is a two-way street, or perhaps a multi-directional street, in terms of what the world can achieve by bringing their ideas together in a display of astounding creativity.

 

 

References

Kotani, Mari. “Metamorphosis of the Japanese Girl: The Girl, the Hyper-and the Battling Beauty.” Mechademia, Vol. 1, Emerging Worlds of Anime and Manga (2006): 162-169.

Lunning, Frenchy. Women Who Changed Free Expression. 31 March 2015. 17 April 2017.

Newitz, Annalee. “Magical Girls and Atomic Bomb Sperm.” Film Quarterly (1995): 2-15.

Newson, Victoria Ann. “Young Females as Super Heroes: Super Heroines in the Animated ‘Sailor Moon’.” Femspec (2000): 57-81.

Prough, Jennifer S. “Straight from the Heart.” University of Hawai’i (2011): 25-56.

Saito, Kumiko. “Magic, Shoujo, and Metamorphosis.” Journal of Asian Studies (2014): 143-164.

Installing Hadaka Shitsuji

Before you install any Japanese program, including Visual Novels, you need to set your non-unicode default settings to Japanese. This means that when your computer can’t recognize the input, it defaults to a language. Most of the time the factory default is English. To change this, go to your Regional settings in your Control Panel.

Go to the Administrative Tab and click “Change System Locale”. Find Japan/Japanese in the drop down menu and select it.

Hit “Apply” and you’re ready to move forward.

Now, assuming you don’t have the actual game imported from Japan, you’ll have to find the fan translated English patch.

http://erogedownload.com/downloads/hadaka-shitsuji/

If you’re downloading the game, make sure you have all the parts fully downloaded before you extract them. You will need winrar or winzip. Once you have all the files, right click the first part and choose “Extract here”. It should automatically be linked with the other parts so it will produce one folder called Hadaka Shitsuji.

When you go into the folder there will be a file just labeled “hadaka”. In order to run this file you will need a mounting software. A mounting software basically tricks your computer into thinking there’s a physical drive being loaded, when in actuality it’s a virtual drive. I recommend Virtual CloneDrive http://www.slysoft.com/en/virtual-clonedrive.html

After you’ve installed VCD, right click on “hadaka” and select “Mount”. A window should appear asking if you want to run the disk/setup. Choose the setup.exe and follow the instructions on screen. It may appear to be boxes or question marks instead of characters. That’s fine too, just use common sense, Japanese setup programs are exactly the same as English ones. For example, you may see a button that has <N>. This basically means Next. So just follow through, besides the options are highlighted in blue, so it really shouldn’t be too hard.

Once you’re all done with that, you’ll need the English patch. Return to the Hadaka Shitsuji link above and download the English patch. This will also come in a zip file you need to extract. Right click and choose “extract here”. Go into the new folder titles “Hadaka Shitsuji English Patch 1.0” and there will be a text file with instructions.

The main directory will be located in C://Program_files(x86)/裸執事  If you want, you can right click Hadaka_en.exe and select “Send to… Desktop” to make it more accessible.

Now, when I started playing I had a problem with saving. In order to be able to save the game, you must right click the icon and choose “Run as Administrator”.

Congratulations, you can now play a game where dudes f*ck each other.