Next year, we’ll actually be getting not one, but two major Hollywood productions based on anime series – “Ghost in the Shell”, starring Scarlett Johansson, and “Death Note”, starring Nat Wolff. Both adaptations have been trying to get off the ground for a really long time now (“The Matrix” was originally supposed to be a “Ghost in the Shell” adaptation, but the Wachowskis didn’t think they’d get the rights, so they took some main themes and styles and presented them in their own way, while “Death Note” had a failed adaptation with Zac Efron, which was a real shame because Zac Efron is literally Kira), so I’m actually really excited to see how they turn out! You already know that most anime adaptations are terrible, so if those two also suck, at least they’ll provide us with an entertaining experience, and maybe a fresh perspective on some beloved characters. And, of course, there’s always the chance that they might surprise us and turn out to be pretty damn awesome, which is what I’m rooting for! In any case, that’s not what I’m here to talk about. Instead, there’s another, more interesting topic that these movies touched on – the topic of whitewashing.

You see, “Death Note” is about a Japanese high school student who finds a notebook with the ability to kill people whose names are written within and decides to use it to ascend to godhood, and his struggle against the British detective of Japanese descent who is dispatched to catch him. “Ghost in the Shell”, while set in the future, stars Major Motoko Kusanagi – a cyborg heading a law enforcement division in a cyberpunk future. As you may have noticed, both of those characters are Japanese, and yet the actors who will be playing them in their live action adaptations, Nat Wolff and ScarJo, are very much not Japanese, or even Asian. That led to numerous news sources denouncing the movies, calling the practice of casting white actors to play Japanese characters “whitewashing” and saying that it stays in the way of diversity. Well, I’m here to tell you that whitewashing isn’t actually a big deal, and it actually helps diversity. Crazy, right? Keep reading!

First of all, it’s important to note that certain characters and settings really do require characters of a certain ethnicity to play the part. Iconic characters such as Luke Cage, Shaft, Storm and Black Panther must absolutely be black, otherwise they simply don’t work. Similarly, when a movie is very deeply entrenched in a certain culture and mythology, it’s generally a good idea to have actors that belong to the same culture. This is one of the biggest problems of “The Last Airbender”, which is already a terrible movie in many ways – its four nations were inspired by Tibet, China, Japan and the Inupiat tribes… So, naturally, the movie is mostly full of white people and Indians. Huh?

But let me ask you this – is the Japanese setting truly integral to the plot and themes of “Death Note”? Is anything lost by changing the setting from Japan to America? Similarly, is the character of Light Yagami (or Light Turner as he’ll be known in the Western adaptation) truly dependent on his ethnicity? The answer, of course, is no. The things that define “Death Note” are the gradual transformation of its protagonist from a well-intentioned extremist into a murderous psychopath, and the elaborate cat and mouse game between him and the detective sent to catch him in which they both lay out plans over plans over plans. “Death Note” is NOT entrenched in Japanese culture, nor does it rely on its characters being a certain race to tell its story. So all of the accusations that the movie doesn’t have diversity because of whitewashing are stupid, especially because L – the detective in charge of catching Light – has been changed from a Brit with Japanese ancestry to a black man. Considering the fact that I have personally seen forum posts of black cosplayers who wanted to cosplay L, but were afraid that their skin color wouldn’t enable them to, this is actually pretty huge and a much better choice in my opinion than just making him Asian. You know what movie REALLY doesn’t have diversity, though? The Japanese version of “Death Note”, which is great, I admit, but it casts Japanese actors in every single role. Including the people who, in the manga and anime, are Brits. Everyone is Japanese. But wait! It gets WORSE! In the “Attack on Titan” manga and anime, all the characters are Western – the fact that people no longer have distinct races (because there’s so few of them) and a certain character is the last Asian (and she’s only half-Asian to boot) is a plot point. Come the movie, and every single one of the characters is once again played by a Japanese actor. Why did no one accuse those movies of yellow-washing or something? Oh, that’s right – because Japanese people actually don’t care about this sort of thing whatsoever.

That’s probably the funniest part of this whole charade. Many Westerners go on this anti-whitewashing crusade thinking that they’re representing Asian people (as if Asians are some kind of oppressed minority that doesn’t have a voice of its own and needs the mighty whitey to speak for it), when in reality most Japanese people aren’t really all that bothered by it. If you look at a Japanese message boards, the people who are actually disturbed by the casting in any capacity are in the minority, and a lot of them are bothered because of reasons other than the actress’ race (one commenter points that ScarJo looks too kind to be Major Kusanagi, which I can kind of see). The majority of comments actually defend the casting, citing reasons such as the lack of high-profile Japanese actresses in Hollywood (at least none that have the star power that rivals that of Scarlet Johansson) and the fact that putting a particular race on a machine (which is what the character is) is ridiculous. The bottom line is that, nine times out of ten, there’s absolutely no reason to get outraged at whitewashing. In most cases, it’s really not a bad practice, and it can sometimes be good! Just ask any black L cosplayer you see from next year onwards!

As I mentioned in my previous article, Saint Seiya was pretty heavily inspired by another manga named Hokuto no Ken which came out in 1983 and ran for five years. Written by Yoshiyuki Okamura (better known by his penname Buronson) and illustrated by Tetsuo Hara, Hokuto no Ken, also known as Fist of the North Star in English, became one of the biggest pop culture phenomena to ever come out of Japan. In its homeland, it single-handedly started a revolution of martial arts mangas with over the top attacks and manly protagonists, with certain works inspired by this genre, such as Bleach, Naruto and One Piece still enjoying immense success. Overseas Hokuto has also been extremely influential, with pretty much every single franchise that takes place in a desert or starring a single, proficient protagonist going around solving everyone’s problems being at least partially inspired by it (without even counting the American live-action adaptation whose quality is… questionable). While Hokuto was inspired by the American Mad Max movies, especially the second one, it has gone on to influence them, with the newest one, Mad Max: Fury Road feeling more like a Hokuto no Ken movie without any martial arts than like an actual Mad Max movie. Now, 30 years after the original manga was first published, new projects bearing the name continue to be made.

Saint Seiya‘s popularity can be explained relatively easily – it was a very well-made manga that appealed to a large demographic and rode an already very high wave. But that wave was started by Hokuto – while there have been violent martial arts manga before, it was Hokuto that solidified the genre. But why? How come so many people fell in love with it? Sure, it was good, but there have been plenty of great manga over the years, and very few have endured the way Hokuto has. What is its secret? After all, on paper the concept sounds absolutely terrible – a boring guy who’s the best at everything going around a bland desert and solving everyone’s problems? No way that can ever go anywhere! And yes, in a way you’d make some pretty valid points, but the true strength of Hokuto aren’t its world, characters or story. It’s how they are all presented within the narrative. Let’s take a closer look at the manga’s very first chapter and see what we can get from it!

Right from the beginning of the first chapter we’re given a dark and depressing look into the world of Hokuto no Ken – the world (or at least Japan, but it’s heavily implied that there are almost no areas that were unaffected by the conflict) has been devastated by a nuclear armageddon which reduced its population to the brink of extinction. Most, if not all animal species have been extinct, large areas are heavily irradiated, and resources such as food, gasoline or even water have become commodities. In order to survive, some have formed small communities in which they attempt to grow their own food on the mostly useless soil, while others have regressed to their most primal instincts and have become hunters, scavengers and bandits with their own societies (which are more like small armies that pillage whatever they come across). Almost none of this is narrated through the text – it’s all very visual imagery, like a young girl with a can of gasoline being chased by bandits. While other manga, such as Bleach, take its time to get us familiar with the characters and then introduce the world, Hokuto wants us to understand EXACTLY what kind of world we’re going to be exploring.

It’d be so easy to introduce Kenshiro in the middle of battle, kicking ass and taking names. Hell, that’s how a lot of manga introduce their protagonists in order to show just how badass they are. In fact, a lot of movies and videogames do the same, starting with a high-action scene to catch the viewer’s attention and establish the main character’s fighting prowess. But that’s not what Kenshiro is about. Sure, he can make your head explode with a punch, but he has never been defined by his fighting ability, and Hokuto wants you to know it. While we do see the results of one of his rampages, we never see him actually fighting anyone. Instead, we see him stumble into a village exhausted and dehydrated. This is another important lesson about our protagonist – he’s not an all-powerful god. While he does possess immeasurable martial arts skills, he’s still very much human and is subject to the very same weaknesses that the average human is. Mistaking him for a bandit, the villagers quickly lock him up alongside an actual bandit – Bat, a young boy who grew up in the midst of the apocalypse and had to learn to survive in it. When Bat attempts to assault their warden – an 8 year old mute girl by the name of Rin, who was trying to bring them some water – Kenshiro not only refuses to help him, but actually pushes a pressure point on his arm to make him let go of Rin. When asked why he would sacrifice his freedom like this, Kenshiro merely responds with “What do you think would’ve happened to the girl had we escaped?” Placing innocent lives before his own has always been one of the character traits that has truly defined Kenshiro. Soon afterwards, we see him use his knowledge of pressure points to cure Rin of her muteness. This is the very first time we’ve seen him use his devastating powers… and it is to help a child speak.

But, of course, this wouldn’t be a martial arts manga if there weren’t any martial arts. Soon enough, the village is attacked by bandits who plan to steal its resources and do other despicable things. The bad news is that the only person who could possibly help them is locked up in the village’s prison. While Bat is desperately trying to reach the keys dropped by Rin, Kenshiro simply stands up, walks up to the bars and… Pulls them open, going through them. He could’ve left the prison whenever he wanted, but he didn’t to avoid getting Rin into trouble and because he didn’t want to startle the villagers. After all, how can you possibly help those you’ve sworn to protect when they don’t even trust you to follow their rules? But when push comes to shove, Kenshiro is perfectly willing to bend said rules for the common good. He finds the bandits and, naturally, quickly and easily dispatches of each of them, except for their leader, whom he hits several times over different parts of his body in quick succession. The leader falls on the ground, but quickly stands up. “Your little fists couldn’t hurt a fly!”, he gloats with a grin on his face. To which, Kenshiro merely responds with “You are already dead”. Moments later, the bandit’s head explodes in a painful, bloody mess. Kenshiro had pressed his vital points in order to manipulate his blood pressure to the boiling point. He intentionally didn’t give him a quick, painless death – Kenshiro wanted his opponent to suffer. Because, in his eyes, that’s what you deserve when you hurt the innocent. Having saved the village single-handedly, Kenshiro departs, but he is not alone – Bat and Rin have chosen to follow him. For the first time since his journey started, he will not be alone in it.

Within the span of 20 short pages, Hokuto no Ken has taught us absolutely everything about its world and its characters, with almost no exposition except for when it was absolutely necessary (I doubt many people would get the exact nature of Kenshiro’s abilities if it wasn’t explained to them). And while the setting of a desolate desert where people have turned into savages is not new at all (you can see it in practically every single post-apocalyptic film, book, manga or game), but the notion of a protagonist who is not out for revenge, or for love, or to survive, but to try to make the place even just a little bit better than it is, was a very new one for the genre, and it still is today. Kenshiro as a character was never out to get stronger – as a matter of fact, he never really received any progression as a character, and never became more powerful than he was in the beginning. The real focus of the manga was on how he, as a constant, would influence the world and characters around him. That was why it was a brilliant idea to also have Rin and Bat tag along with him – while they were never really important characters, they provided a fresh perspective on Kenshiro and could evolve instead of him. And they did, ending the series as warriors worthy of continuing Kenshiro’s legacy.

I can go on and on about all the brilliant moments and characters throughout Hokuto no Ken, but I think I’ll leave you to discover them all on your own. The manga is, of course, a great place to start, but the (surprisingly faithful, if censored) anime adaptation from 1984 is also an option for those of you who prefer their pictures to move (you can purchase it in its entirety on DVD for relatively cheap). In addition, several more recent animated movies loosely adapting certain arcs of the manga were released between 2005 and 2008, to commemorate the 25th anniversary of the franchise. And if you’d much rather experience the story in an interactive medium, then Fist of the North Star: Ken’s Rage and its sequel Ken’s Rage 2 are excellent, as they adapt the entire story of the manga into a 3rd person brawler. Ken’s Rage only adapts the first half of the manga, but has an English dub as well, while Ken’s Rage 2 adapts all of it, but only features the Japanese voices (though, in fairness, the second arc, which deals with Kenshiro’s homeland, is not very good). Additionally, both games feature lots of extra modes where you can play as various characters alone or in co-op, and those differ between games, so if you’d like to get the complete experience then I’d recommend picking up both, but if you only want the complete story and don’t care about the English dub then just skip to Ken’s Rage 2. Regardless of what non-live action medium you choose to experience Hokuto no Ken in, I can almost guarantee that it will always be worth it!

Let me take you back to early 80s Japan. The country’s economy is in a boom – the highest point since the war, with an average of 4% growth per year throughout the decade. Unemployment is at less than 5%. Japanese people suddenly found themselves with a lot of disposable income, which led to a natural increase in entertainment products, such as movies and comic books. Additionally, videogames such as Donkey Kong and Super Mario Bros. gain Japan worldwide recognition, forever sealing its place as the premier developer of videogames – a position that it would hold for at least the next 20 years, and arguably for a lot more. But there was another character created around the same time who, while not nearly as popular as Mario, proved to be just as influential. His name… is Kenshiro.

Hokuto no Ken, also known as Fist of the North Star, began publication in the weekly manga magazine “Weekly Shonen Jump” on September 13th, 1983, and very quickly became a phenomenon. The manga featured an overly masculine protagonist named Kenshiro who was extremely fluent in martial arts walking around a post-apocalyptic world and solving everybody’s problems while occasionally shedding a few manly tears (I’m not kidding here – if you google “manly tears”, most of the images depict Kenshiro). Hokuto proved to be unbelievably successful, beyond anyone’s wildest dreams. While there have been martial arts manga series before, none proved to resonate with audiences as well as Hokuto, which continued for 5 years and spawned multiple anime series, several movies (including a hilariously bad American version starring Gary Daniels and his mullet) and too many videogames to count. It became a phenomenon that influences the manga/anime culture to this very day, with fans still repeating the famous phrase “You are already dead” (often spoken when Kenshiro has killed his opponent without them realizing it yet) to this very day.

Hokuto‘s popularity gave rise to martial arts mangas that followed the same formula. Numerous attempts were made, some successful (such as 1984’s DragonBall) and some not. One of those attempts was Saint Seiya, created by Masami Kurumada. While not a direct ripoff of Hokuto, the influences were obvious – Saint Seiya also had a highly masculine protagonist (though more emotionally than physically) who used martial arts to right wrongs. But there were also several differences – for example, instead of a desolate wasteland, the Saints (Saint Seiya‘s word for martial artist) fought in a world that mixed sci-fi and Greek mythology settings, and instead of a sole protagonist wandering with a small supporting cast that mostly cheer him on, main character Seiya was joined by four other Saints. But there was another extremely important difference, one that I believe helped elevate Saint Seiya above the status as “just another martial arts” manga. While Hokuto no Ken was aimed at adults, with hyper-violence, complex themes and often depressing or bittersweet endings, and DragonBall was unquestionably aimed at little boys, with a child protagonist, simple plots and unquestionably evil bad guys, Saint Seiya managed to hit the tonal middle ground in order to appeal to almost everyone.

First and foremost, all violence was significantly toned down when compared to Hokuto no Ken. While there are certain instances of violence, such as an infamous event in which Seiya sticks his hand into the chest of one of his enemies in order to kill him, for the most part the violence is very PG-friendly, yet without compromising the integrity of the martial arts, which still remained impressive even just on paper. Additionally, while the villains never exactly argued philosophy with Seiya, they still had realistic goals and weren’t just moustache-curling, dastardly bad guys like in so many other mangas around that time (even quite a lot of the much more mature Hokuto villains fell into this trap). And at the end of the day, the messages of Saint Seiya just resonated with the readers. While Hokuto was about a lone man trying to bring at least some hope to a world that has none, Seiya is all about companionship. It’s about learning to rely on your friends and working together with them in order to protect something that’s precious to you. They’re themes that hadn’t really been explored in a popular martial arts manga up until then (most of which tried to copy Hokuto‘s sole protagonist), yet have become staples of the genre since then, becoming prevalent in some of the most popular mangas in the following years such as One Piece, which holds the theme of companionship and fighting for what you believe in at its very heart and is, to this day, the best-selling manga ever. Seiya didn’t just come out at exactly the right time to grab people’s interest – it also knew how to keep it.

In 2015, Saint Seiya‘s legacy is arguably just as big as that of the manga which inspired it. It spawned an anime that ran for 114 episodes (half of which were dubbed into English, albeit poorly, and aired as Knights of the Zodiac), alongside another series of OVAs, multiple spinoffs (some of which are still airing today) and way too many videogames to count. It has been almost 25 years since the original manga ended, and yet new stories bearing the Saint Seiya name continue to appear constantly, as recently as September 25th 2015 when Saint Seiya: Soldier’s Soul hit store shelves worldwide. Even if it started as nothing more than a ripoff trying to cash in on the immense popularity of the martial arts manga genre in the mid-1980s, Seiya has since grown into one of the most beloved and fondly remembered martial arts series ever made.

Remember the early 2000s? Ah, that wonderful time when most of us didn’t have Internet (and those who did had to be content with download speeds of about 10-15kb/s), so we had to trade and organize CDs if we wanted to exchange anything; when Lindsay Lohan didn’t need to sue a popular videogame in order to be relevant and when Stephanie Anderson was the coolest kid in the class for being the first who had a flip phone with a camera? Crazy times, I know! If you, like me, were a kid during that time, then you might remember that literally the only way we could get any kind of entertainment was to sit on our butts every Saturday morning and watch cartoons. And boy, did we get some AWESOME cartoons at that time – “Samurai Jack”, “Justice League”, Teen Titans”, “Clone Wars”, “Fairly OddParents”, friggin’ “Avatar: The Last Airbender”, man! So many classic cartoons that are still remembered fondly to this day as some of the best of all time were made in the early 2000s! But honestly, while I agree that all of these are AMAZING, I didn’t really watch most of them when they aired. Instead, my favorite cartoon was a little show by the name of “Knights of the Zodiac”.

You see, back in the early 2000s a whole lot of Japanese anime were being localized and aired overseas. The trend actually started in the mid-1990s with shows like “Sailor Moon” and “DragonBall Z”, but arguably peaked a few years later when “Yu-Gi-Oh!” became an international sensation, prompting Konami to defictionalize the card game depicted on the show, start selling the actual cards and make a whole lot of money in the process. Suddenly everyone wanted a piece of the pie, and quite a lot of anime were localized for airing in the States, such as “The Cardcaptors” (“Cardcaptor Sakura” in Japan), “Shaman King”, “Cyborg 009”, “Naruto” and so many more. One of the least successful ones was “Knights of the Zodiac”. It told the story of a young martial artist named Seiya who, alongside his group of friends, was tasked with protecting the incarnation of the goddess Athena. And it was AWESOME! I absolutely fell in love with this show – it had colorful animation, excellent fighting scenes and a ridiculous storyline that made no sense, but who cares, I was a kid!

Years later, I actually discovered that “Knights of the Zodiac” was way bigger in Japan than it ever got around here. “Saint Seiya”, as was its original title, aired for far longer in Japan than it did in the US, and it also had a lot more complex storyline and characters now that it wasn’t dumbed down for American audiences. And, much to my surprise, it was way better than I remembered it! That experience of rediscovering “Saint Seiya” made me think about what other anime from Japan may have been butchered for its American release, and also what other series from that time period people remember fondly. That’s why I decided to create this blog in order to talk about anime-related stuff like that. I can’t tell you exactly what I’ll put on here, and what you can expect from me, because I’ll mostly be making it up as I go along, but I hope that you enjoy it nonetheless!