Character Focus

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As part of my series of short posts connecting important achievements in women’s history with anime, I thought it would be appropriate to talk about firsts. We all know certain historic firsts, like the recent historic political campaigns of 2008, which saw the first African-American candidate pitted against the first serious female candidate. Or Elizabeth Blackwell, the first female doctor. Or Amelia Earhart, the first woman to fly solo across the Atlantic Ocean.

These are just a few American examples, but every day women are making history by being first. The reason we celebrate these women, aside from the fact that they are awesome, is that being first is always hardest. Breaking the barrier by being first is a major accomplishment, and breaks down stereotypes about what women can or should do. When it becomes commonplace for women to do something, men (and women) stop fretting about whether or not they should.

Toshokan Sensou copyright Hiro Arikawa, MediaWorks, Production I.G.

So in that pioneering spirit, I thought I’d highlight two women from the anime/light novel/manga series Toshokan Sensou, or Library Wars. Iku Kasahara is the first female member of the Library Defense Force’s special forces unit, the Library Task Force. Her roommate and friend, Asako Shibasaki, is also a member of the Library Defense Force and is determined to become the first female head of the organization.

Despite flaws in both characters, they are both admirable for being first or aspiring to be first. Kasahara faces many obstacles in being the first female Task Force member, mostly in that she constantly has to prove that she is able to do her job. She also faces backlash from the female members of the Library team in Ibaraki, who constantly harass the female members of the Defense Force. Shibasaki is ambitious and intelligent, but only confides in a few people that she intends to become the first female commander of the Library troops. She is embarrassed when the current commander finds out about her dream, but encouraged when he supports her.

It might be a little hard to read, but I think that Dojo’s quote in this scene sums up why it is important for women to become not only first, but second, third and so on. He says, “Seeing you every day makes me forget that people like that exist.” Basically, since he’s become accustomed to having Kasahara around, he doesn’t think of her as special or first or different. He just thinks of her as Kasahara, his friend and subordinate. After the first woman to do something or be something comes around, the rest can just be themselves instead of “first.”

Toshokan Sensou copyright Hiro Arikawa, MediaWorks, Production I.G.

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*DISCLAIMER* I haven’t finished the NANA anime series. I’m writing this post having seen 24 episodes of the anime, and focusing on Nobu’s perception of the two women in his life based on his conversation with Shin in episode 23.

NANA is a story about two women, their ambitions and the people who love them. Nana O and Nana K (Hachi) are very different people, but share a special connection with each other, and the audience watches their lives change when their different worlds start to merge. After a recent breakup, Hachi has sex with the guitarist she has idolized, Takumi. Their night together is fraught with conflicting emotions for her, yet he hardly remembers it months later. When Hachi’s friends, Nobu and Shin, find out about the fling and the casual way Takumi dismisses it, they confront him angrily. They storm out and Nobu discusses his feelings for Hachi with Shin.

Nobu loves Hachi, and is convinced that her night with Takumi is a result of deception. He believes that the only reason Hachi would ever sleep with him is if he tricked her into bed. Nobu’s view of Hachi is simplistic, and emblematic of the way that several other characters see her, as an innocent child incapable of making her own decisions. Nobu makes assumptions about Hachi’s motivations that are in line with his own view of the world and of women. He wants to believe that she is innocent and would never actually have sex with a man like Takumi voluntarily.

Shin, who is rapidly becoming a favorite of mine for reasons other than his seiyuu, immediately calls him on his views. To think that Hachi was tricked into sex is to have a pretty low opinion of Hachi, and Shin thinks this does her a disservice. If Nobu’s view is correct, Hachi may remain a pure, innocent maiden deceived by the predator Takumi, but her intelligence is questionable at best. Shin reminds Nobu that Hachi was a big fan of Takumi, and that she has liked him for years. He then delivers a line that made the feminist in me cheer. Out loud.

“Do you think that women don’t have sexual desires?”

Shin hits the nail on the head of Nobu’s problem with understanding the two women in his life: he doesn’t see them as people with desires of their own, sexual and otherwise. He had a similar conversation with bandmate Yasu years before, in fact. When their bassist Ren left to pursue a career in Tokyo, Nobu was upset that his girlfriend, Nana O, wasn’t going to go with him. Yasu was the one to remind Nobu that Nana O has her own life and can make her own decisions – it isn’t Ren’s decision to make whether she goes or stays. Sleeping with Takumi or not sleeping with Takumi was Hachi’s decision to make, as hard as this may be for Nobu to accept.

In Shin’s eyes, Nobu is “idealizing” women by not considering them to have their own sexual desires. Nobu sees women the way he wants to see them, without considering them as people with their own needs, desires and ambitions.

The other great part of this conversation is when the topic turns to Shin’s own relationships with women. He has been prostituting himself for money and gifts, but challenges Nobu’s assertion that the women he sleeps with are “easy.” Instead, he humanizes them, seeing them as lonely, albeit shallow, people. While Shin may or may not be taking advantage of the women he sleeps with, he sees them as people with their own lives and decisions to make – something that Nobu is unable to do.

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I know, I know, another Skip Beat! post! Bear with me, because there’s another interesting aspect of Skip Beat! that I wanted to explore and see what other people think.

In Skip Beat!, Kyoko is starting out at the bottom of the ladder at LME Talent Agency. She’s the lowest of the low ranked actor, and is just barely beginning to even think of herself as an actor in her own right as of volume 21.

Skip Beat! copyright Yoshiki Nakamura, Viz Media

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I love vampire stories. This might be surprising, considering that the vampire genre has a really, really bad track record when it comes to female characters. Despite that, I have a soft spot for vampire stories and will generally give them a try. (Unless they glitter.)

The Blood: The Last Vampire story has had its turn in many different types of media. It’s been an anime movie, an anime series, a manga, a live action movie and a novel series. I’ve only seen bits and pieces of the anime version, and have now read several volumes of the manga adaptation. The manga adaptation called Blood+ (released in North America by Dark Horse) is what I’m writing about here, not the other versions.

Our amnesiac heroine, Saya, has her somewhat-peaceful high school life interrupted by the appearance of chiropterans, blood-sucking monsters that only she can kill. She finds out that her past life is that of a monster-fighting monster, and must come to terms with the chaos around her caused by the mysterious men who call forth the chiropterans.

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Toshokan Sensou copyright Hiro Arikawa, MediaWorks, Production I.G.

Toshokan Sensou brings a sense of joy to this feminist otaku for several reasons: armed Librarians, a scrappy, hot-headed girl making her way in a man’s field, Akira Ishida, and armed Librarians!

The world of Toshokan Sensou is a librarian’s nightmare, where free speech is restricted by the government and censorship is forcefully carried out by an agency called the Media Cleansing Committee. Any word or message considered harmful to the people is expunged, and any who resist are met with violence. Ray Bradbury, eat your heart out.

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