Shortest Month of the Year

Art by Emile Bernard

This month isn’t just momentous for offering romantics everywhere the supreme gift of another “Fifty Shades” movie; it’s also a month of celebrating things that should sort of be omnipresent all year round — Black History Month and, in a much more pop culture sense, Women in Horror Month. Continue reading “Shortest Month of the Year”


From ‘Star Wars’ Back to Earth: Legacies & ‘Nobodies’

Henri-Edmond Cross art

(Spoilers) I haven’t seen the new “Star Wars” yet, but I’ve let plot points be spoiled for me — things like Rey’s parents supposedly being “nobodies.” For some people, that’s disappointing. But I like the idea quite a lot — I suppose because legacies in fiction are often romanticized as being a far more noble thing than they are in the real world. Many of us would like to be part of a legacy, just to inherit “greatness” and its ensuing path. But mostly legacies are just an inheritance of privilege.

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Shrek Thematically > Beauty and the Beast


Beauty and the Beast is probably going to be a very enjoyable movie, but, much like the Cinderella adaption before it, I think there’s something inherently a bit flat to its themes – in a way that doesn’t make for much improvement over the original two-dimensional animated adaptations.

Continue reading “Shrek Thematically > Beauty and the Beast”

The Dub That Surpasses Otherness

In any Jackie Chan movie that’s been dubbed over in English, Jackie’s accent is one that stands out. In a world of people voiced over by those who usually have (or can affect) what would generally be considered white American and/or British accents, Jackie, a man for whom English is possibly a third language, voices over his own characters. In most English-speaking countries, by jerk standards, Jackie’s accent might be considered a bit rube-ish; and it would make for someone who is considered a bit less than, or ‘other.’ But that’s what make the English dubs of his Chinese films so unique. He could be dubbed by any other accent that, in a Western sense, is not considered sophisticated, and it would be just as uniquely surreal to have this artfully klutzy, alternately semi-suave protagonist who scrambles to being on par with anyone in his world.

Whitewashing Unfortunately a Cornerstone of Most Anime

The country of Japan is like anywhere else – a place with some wonderful in the mix with some not so much. Historically, its largely homogeneous society has put itself at the top of an imaginary hierarchy in northern Asia. Aside from those considered ethnically Japanese, the cultures/people that it seems most enamored with are the titans crafted by America’s and Europe’s cultural output. Japan’s animation developed hugely influenced not just by this output, but the pre- and post-World War II strides in animation in America and Europe. Since that time, it has managed to mix American and European biased cultural reflections into an avatar for characters that are supposed to be thoroughly Japanese.

In Japan’s old timey art, the depictions by most Japanese artists show people with eyes that typically have the single-eyelid look. It wasn’t universal, but it was certainly common enough to be a perfectly normal avatar for being a normal human being. The creative output of countries that rule the world on a pop cultural level, however, seemed to give Japan a bit of an inferiority complex. A few of the latest Final Fantasy videogame installments tend to not completely whitewash the eyes of characters; and even if they’re still a typical combo of Japanese characters filtered through a European sensibility, that’s a rarity.

Anime like the original Robotech typically put Japan at the center of a world in which there’s an international peacekeeping force comprised of American, European and Japanese characters – characters who are all relatively in sync and speak Japanese. Even though many series have continued in this template, it’s almost unheard of to have a black character on these teams (which is among the original Robotech’s virtues.)

When an anime is comprised of an entirely Japanese cast, the characters are either the general pale, dark-haired avatar of the average Japanese person, quite obviously an almost Aryan vision of whiteness (anime loves its blond protagonists), or pale with some dyed hair color. Characters with hair colors that are impossible without dye seem to partially be a subconscious result of the need for characters to be, if not white in the most Western sense, something more than the typical avatar of just an old fashioned, black-haired Japanese character. Japanese animation doesn’t ever feature these characters dyeing their hair; these colors are supposed to be natural features. And while some people in Japan are certainly pale, there are also Japanese people whose skin tones are much more tan. Maybe there’d be a lot more if there wasn’t such a premium on paleness.

“Non-white protagonists” are still most often seen as an oxymoron. But most anime is not remotely reflective of how ridiculous that is.