How anime was created, woohoo Options

[n00b]

I always wondered how this 'anime' was created?
I mean many people love these Asian cartoons and comics.
America is very fond.

Japanese animation, more commonly known as anime, is becoming increasingly popular in the United States. However, because the stories are presented with animation rather than real-life actors, many Americans think of anime as “kid’s stuff.” Far from the truth, numerous anime series feature ideas and concepts much too complicated and/ or uninteresting for a child’s mind. They feature themes that are very important in the modern Japanese lifestyle, but which also reflect on their past. Understanding anime gives outsiders a greater knowledge of Japanese culture.


Many anime series are based on manga, or Japanese comics. There are two basic types of manga: shonen, or boys’, and shojo, or girls’. Shonen manga have stories related to sports, action, sex, and war. They have strong plots, but weak character development. Males are the main characters, and are portrayed as tough. Females usually play “damsel-in-distress” roles. Characters are drawn with bold, angular lines, and have small eyes. Shojo manga have females as the main characters, with stories focused on love and emotions. Characters are drawn with softer lines, and have enormous eyes. Eyes are seen as a gateway to the character’s soul, so the larger the eyes, the more sympathetic and sensitive a character is (Levy, 9 -11; Schodt, Manga!, 88). During the late 1970s and early 1980s, the gap between shonen and shojo manga has been reduced, and it is not uncommon for girls to read shonen manga, and vice-versa. Even now, it can be difficult to place some manga into either the shonen or shojo category, since elements from both are incorporated into new stories.

One of the earliest known examples of comic art in Japan are the Choojuugiga, or “Animal Scrolls.” They are four scrolls painted with brush and ink, and are believed to have been created during the I2th century by a bishop named Toba (Schodt,Manga! 28 - 30). The first actual manga, created in the late18th century, were called kibyoshi, or “yellow cover” (37). Kibyoshi were printed using woodblock technology, and were produced for adults rather than children. Several popular genres were humor, fantasy, drama, and pornography.

As time progressed, manga became increasingly popular for both adults and children in Japan, but one man, Osamu Tezuka (1928-1989), helped to change the style of manga drastically (Schodt, Dreamland, 233-68). One of his earliest works is Shintakarajima, “New Treasure Island, a manga consisting of nearly 200 pages. What makes this work so important is that Tezuka incorporated a different style into his art, using unique page layouts and “camera angles” to give the drawings more motion. People who read Shintakarajima were amazed, and some even claimed that it was just like watching a movie. At the time it was created, many people barely had enough money to buy food; however, it is estimated that Shintakarajima sold over 400,000 copies (Schodt, Manga!, 62; Dreamland, 235). Tezuka went on to create many other manga, such as Tetsuwan Atom (“Mighty Atom”), Ribon no Kishi (“Princess Knight”), and Jungle Taitei (“Jungle Emperor”). He became so successful that he founded his own animation studio, Mushi Productions, in 1962. Tezuka was referred to in his homeland as “the Walt Disney of Japan”(Levi, 20), and “the God of Comics.” In addition to starting his own anime studio, he also trained several aspiring animators, most of who became successful later.

Although he was known more for his shonen manga, he also helped pave the way for shojo manga. In the early 1960s, Tezuka decided to transform two of his manga, Tetsuwan Atom and Jungle Taitei, into Japan’s first anime series (Schodt, Dreamland, 244-48, 268-74). Both were later dubbed into English and aired in the United States under the new titles, Astro Boy (1964) and Kimba the White Lion (1966), respectively. Both anime were fairly successful, but it wasn’t until the 1980s that anime would become popular again in the United States. With the arrival of Star Blazers and Robotech (known in Japanese as Space Cruiser Yamato and Macross, respectively) in the early 1980s, anime once again found a place in America. However, American TV producers greatly edited both shows by changing names and personalities of some characters, cutting out a lot of violent and sexual scenes, and even changing the ending for Robotech (Levi, 7 - 9). Nevertheless, children and teens loved it, and craved more.

Another reason why anime became a success during the 1980s is that exchange students who went to Japan returned home with videocassettes of anime. Many new American companies, such as AnimEigo, Pioneer, and Viz Video were created to provide dubbed and subtitled anime to their new eager audience.

The 1980s was also a turning point in Japan as well as America. Previously, anime releases in Japan were rare, due to the high cost of production. Only exceptionally popular manga were made into anime, but with new, less expensive computer animation techniques, increasing numbers of manga became anime series. Two of the most popular anime during the 1980s were Gundam and Urusei Yatsura (“Those Obnoxious Aliens”). With the high success of those anime, movies and OVAs for both series were released (OVA stands for “Original Video Animation.” It is a continuation of anime series, but is not aired on TV. It is usually sold on videocassette.)

Anime is created by Japanese people for Japanese people, yet its popularity in the United States is growing rapidly. This came as a surprise to many anime creators, such as Rumiko Takahashi. She is referred to as “the First Lady of Anime,” and has created many popular shonen manga/anime including Ranma 1/2, Urusei Yatsura, and Maison Ikkoku. During a 1989 interview, when told of the success of her translated manga, she said, “If it’s true, then I’m truly happy. But I must confess to being rather puzzled as to why my work should be so well received. It’s my intention to putting in a lot of Japanese references, Japanese lifestyle and feelings.... I really have to wonder if foreign readers can understand all this, and if so, how?”(Levi, 3 -4). Although anime does contain many references to Japanese culture, series such as Pokemon, Dragon Ball Z, and Gundam W have been dubbed into English and are highly popular among children, as well as young adults. Several of the reasons why anime is so admired in the United States are: the high tech look, multi-faceted characters, fantasy worlds, and the intriguing storylines.

Understanding anime can be very difficult for foreigners, but it can give a person an inside look of what Japanese society is really like. Although much of an anime can be fantasy, there are usually many beliefs, values, and customs that can be found within it. The plots and storylines in anime are often taken from Shinto, which is Japan’s indigenous religion. Shinto is practically more of a lifestyle for the Japanese rather than a religion. When asked, several young people replied that it is more about carrying on family traditions than religious beliefs (45). Shinto is an animistic form of nature worship, but does not have any one sacred book such as the Bible. There is no central god, and it has no set moral regulations, but focuses more on celebrating life. Shinto has over 2,000 years worth of legends and fairy tales and more than eight million deities, many of which are familiar to most Japanese people.

One of the most popular Shinto legends used in anime storylines is the story of Amaterasu, the sun goddess, and her brother, Susano-Oh, the wind god. They were sister and brother, born from the gods who created the islands of Japan, as well as the deities within them. Amaterasu and Susano-Oh were never married, but they created a number of children together. They also had numerous fights with each other. After one particular fight, Amaterasu was so upset that she sealed herself in a cave, leaving the Earth without sunlight. The other gods realized that something had to be done, or all life on the planet would die. They lured her out of the cave by throwing a huge party right outside. Curiosity got the better of her, and as she emerged from the cave, the other gods sealed the entrance so she could not return. Susano-Oh was banished from Heaven, but went to Earth and became a hero. Amaterasu eventually forgave him (43 -5). Tenchi Muyo!, Blue Seed, and Ranma 1/2’ are just a few anime to feature parts of this legend.

One of the reasons Shintoism has been practiced so long is that it is able to co-exist with other religions harmoniously. Buddhism and Shintoism are two different religions, yet are essential in the Japanese lifestyle. While Shinto is the religion associated with births, weddings, and other joyous occasions, Buddhism is associated with death. In anime, there can be traces of many different religions, such as Shinto, Buddhism, and ChristianityÑall in the same story! Anime authors also portray foreign countries and people in their stories; however, their interpretation can often be more stereotypical than truthful (60 - 1). In the anime G Gundam, this is especially true. The American character has a happy-go-lucky attitude, but is an alcoholic. He wears a cowboy hat, blue jeans, and cowboy boots. His Gundam is also a victim of stereotyping; it wears a football helmet, boxing gloves, has two sixshooter pistols (similar to the ones cowboys used), and rides on a surfboard. Some of the other Gundams are also ridiculous: the Matador Gundam from Spain resembles a bull, and the pilot is dressed as a matador. Another point to be taken into consideration is that although Japanese are Asian, it does not mean that they understand the culture of other Asians as well. Hong Kong is often associated with crime and violence in anime. India is seen as a place of “...bejeweled rajas, yogis in mountain caves, or a source of exotic new martial arts techniques” concepts that are far from the nation it is now (60).


Understanding symbols in anime can be difficult for Americans, because of the unfamiliarity with Japanese culture. Hair color is one symbol that can indicate a character’s personality type. Although hair color can symbolize different personality traits, it does not have any relation to the ethnicity of a character. Many characters in anime have a vast variety of hair color. Just because a character is blonde, it does not mean that he/she is Caucasian. Similarly, black hair color does not make a character Japanese. Since most of Japan’s population has naturally black or dark brown hair, anime characters with this hair color are usually more sympathetic or caring, and can represent a traditional Japanese person.

However, some characters with black hair can also represent a satire of Japanese people. In Ranma 1/2, the main character, Ranma, changes from male to female when splashed with cold water. As a male, he has black hair but when changed into female form, his hair becomes fire-red. This helps indicate the difference between the two personalities. Akane, Ranma’s fiance, also has thick black hair. Although she seems to be a tomboy, she can also be very sympathetic and caring. One character who has black hair but does not seem to fit the “traditional” Japanese personality is Kodachi. She is more of a satire of a traditional Japanese person than a sympathetic character (11).

Characters with blonde hair color also have significance in anime; blondes usually mean trouble, or evil. In the anime Fushigi Yuggi (“Mysterious Play”) a handsome but evil warrior, Nakago, has blonde hair. Pink hair on a character suggests cuteness. Washu, a character in Tenchi Muyo!, has bright pink hair and wants everyone to address her as “Washu-chan” (little Washu). Even though she is a grown woman, she chooses to appear in the form of a child.

There are many other symbols present in anime, which help the viewer to grasp a better understanding of Japanese culture. Sakura, or cherry blossoms are associated with death, because of a concept called mono no aware. It basically means that there is barely time to appreciate its beauty before it disappears, The duration of sakura is very short; kamikaze pilots and samurai were compared to the lovely flowers as they went off to battle. Religious symbols also exist in many anime; Shinto objects, such as the torii or gateway, suggest a lighter, joyous mood. Conversely, Buddhist objects, such as temples, or the presence of a Buddhist priest can imply a more solemn and serious atmosphere. This is not because Japanese dislike the religion, but because it deals with death. When people die, Buddhist funerals and burials are held. Christianity and Catholicism may sometimes appear in anime, but since these religions are not dominant in Japan, they do not always represent good as they do here in the United States. More often, they hint at supernatural powers for those who possess a cross or crucifix.

Holidays also have a different significance in Japanese society. Christmas in Japan is celebrated differently than in the United States, since the religious meaning for the holiday is lost. Santa Claus is known in Japan, but the holiday focuses more on couples and romance than family. Exchanging Christmas presents is a sign of affection between men and women. In Ah! Megmni-Sama (“Oh! My Goddess!”), a young couple looks forward to showing their affection for one another with the exchanging of presents.

Music cues can help to make certain scenes more dramatic, or can also foreshadow future events. Tenchi Muyo! often uses wooden clappers, drums, and special shouts from Noh and Kabuki Theater to highlight particular moments, such as when Ryoko, a demon, appears. A samisen is a three-stringed musical instrument, which is associated with geisha and tea houses (Poitras, 116-170). In anime, when a samisen is played in the background, it is sometimes used to hint at a possible romantic or sexual encounter between two people.

The definition of a war hero in Japan is quite different from the idea of a hero in the United States. In the United States, heroes are expected to be brave, and fight for causes that are noble, honest, and pure. Winning their battle also helps to constitute the definition of a hero. In Japan, there is a different set of general guidelines that define a war hero. A Japanese war hero must also be brave and self-sacrificing, but needs to be unconcerned about personal success or survival. The cause is not very important; however, one must be willing to give his or her all for the cause. Winning does not make much of a difference; many times, losing makes a hero’s defeat even more tragic (Levi, 67 - 8). Therefore, in anime, the enemy can sometimes be seen as a heroic figure, as long as he or she is unselfish and entirely devoted to a cause. They are just considered heroes on the opposing side. Character development is important in anime, so it is not unusual to see heroes become villains, and vice-versa. It is also not unusual to see many of the heroes in anime die. In Fushigi Yuuo, five heroes on a team of eight die while fighting for their goal.

Japanese anime is very intriguing to American audiences, mostly because it is so different than cartoons here in the United States. It is also very interesting to try and understand what kind of lifestyle people have in Japan. Anime gives foreigners a glance into the Japanese culture, because it is made by Japanese people for Japanese people. When anime is created, authors do not worry how their audience will receive their work, since they believe that it is for their peers rather than for outsiders.