UlasanAnime.com – Japan’s fascination with strong female characters is undeniable, encompassing a wide spectrum from the stoic kuudere to the fiery tsundere, and even those with sharp minds behind a pretty face. These characters, often small in stature yet larger than life, manifest in various forms and sizes.
This observation inspires a blog post, partly due to a slight ethical hesitation about applying for a freebie and partly because the topic naturally extends beyond the word count. Additionally, the intention to purchase a copy of “Mardock Scramble” anyway adds to the motivation.
The immediate thought is the diverse portrayal of these female protagonists, ranging from mere cardboard cutouts to all-consuming mind viruses. Satoshi Kon’s Chiyoko, the titular Millennium Actress, exemplifies this. She evokes a sense of wonder, adoration, and “moe” towards one’s idol. Chiyoko transcends gender, being both adored and a force of nature, representing a perfected ideal of womanhood that also embodies “mono no aware.” This allows for empathy and admiration, as she serves as an aspirational figure, a sentiment universal and not limited to heterosexual orientation.
Chiyoko can be seen as a refined version of another science fiction heroine, a personal favorite: Priss. Priss fights tooth and nail against her constraints. However, her rebellion is more akin to a punk rocker’s, highlighting human hypocrisy and flaws rather than extolling universal virtues. She remains timeless, having endured the 80s, 90s, and 00s. Her musical performances are merely an extension of her persona.
This is distinct from characters like Harmony’s instigators, who appear more as victims and pawns than individuals with independent wills, or perhaps not even sentient beings at all. Like puppets in a show, this is acceptable as the storyteller has a narrative to deliver, and the audience pays for that experience.
Even more distinct is Ibis, who is more robotic than human, even in a gendered sense. Interestingly, Ibis and her AI companions are born from the fancies of otaku. They come into being through their masters’ desires to fulfill their wishes, akin to characters in “Dead or Alive Beach Volleyball.” They embody the shapes of their masters’ fancies and fantasies, including their personalities and a desire for non-conflict. This borders on Asimov-ian concepts rather than typical late-night anime or galge. Between the words on a page and the reader’s imagination, simple ideas are inflated, and feelings are projected as if these characters are perceived as real girls or beings. This is akin to filling balloons with helium or xenon, whatever floats one’s particular interest.
This leads to the observation that a segment of the audience seeks these feminine protagonists, who can be “butt-kicking” in multiple ways. This is the core of the “moe” problem. It’s not that these seemingly simplistic characters are profound reflections of the human condition, but their collective presence in the otaku consciousness is significant and impactful. They represent art imitating life imitating art, but without a single master storyteller. Instead, there are tens of thousands of storytellers, each interpreting the scene through their own eyes and creating their own narratives – a “metaversial harem.”
Fortunately, prose offers a richer medium than a fleeting glimpse of panties or a wistful gaze into the distance. The written word provides a more substantial barrier to the cheapening effect often seen with visual media. While one can write a book about these two-dimensional archetypes, it retains more dignity than an anime adaptation of the same material. After all, an image of a “butt-kicking girl” is not the same as the words “butt-kicking girl.”
You might also be interested in : Never Running Out of Things to Say
[As an aside, this discussion aligns with a 2010 resolution to address the topic of moe. While the intention was to continue this discussion, it feels appropriate to use the term here. Forgiveness is sought for this usage.]
