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Transformation
by Lees Sharon-Ann
Transformation as a theme, although under numerous guises, appears in the mythology and folklore of all cultures; perhaps because this phenomenon, which in fiction often verges on the fantastical, can also be seen in our lives in the most mundane places and everyday events. We as people evolve and change as puberty emerges and physical changes begin, just as maturity and experience help us change mentally and grow as individuals. Our world transforms before our eyes as technology changes our everyday roles and experiences, whilst economic and social developments shape the landscape around us. Western culture has always had transformation as a common theme or motif in its literature, and although this is less evident in the media of the post-modernist world, we can identify this theme in today's media as well as the conventions and infancy of film and literature. In Japan transformation is similarly recognisable in art, literature and common beliefs; but seems to have survived in a purer form as an important theme or motif in modern fiction and media. As Otaku culture grows in the West, it has gradually begun to absorb these ideas and rules of fiction and it is clear to see our culture as forever changing, creating the conventions and myths of the future.
Folklore and mythology is still important in today's Japan and its influence can be seen in numerous anime, manga and doujinshi titles. Many of these myths come from the mixed sources of Buddhist and Shinto influences; agricultural-based folklore or
folk religion, as well as many myths integrated as their own from other Eastern cultures such as those of Vietnamese or Chinese origins.
Takahata Isao's charming anime Pom Poko (based on Shigeru Sugiura's manga of the same title), is based around the mythical creatures the Tanuki - racoon dogs that actually exist in Asia - although presumably minus the magical powers! The creatures have the ability to shape shift using 'illusion science', and use this skill traditionally to cause mischief, mayhem and to obtain sweet treats in acts of harmless fun. In Pom Poko the Tanuki must use their powers in a desperate bid to save their way of life from the marching onslaught of modern urban-development that is slowly destroying their natural habitat. The tanuki are portrayed in various forms from their anthropomorphic state, a form of personification where the animals are given human like personalities, characteristics and even clothes; as realistic animals; or cartoon figures based on Shigeru Sugiura's original manga.
The underlying theme of the changing landscape of modern Japan in Pom Poko is as relevant to the discussion of transformation as the shape shifting characters themselves. Characters from traditional Japanese folklore are used to highlight the loss of Japan's past both by physical its landscape and less tangibly by its fading traditions and tales. Just as the ecology of Japan is proven delicate and ephemeral - forever in danger, its traditions seem to be even more so as modern culture embraces an ever changing way of life. It is also interesting to note that the traditional enlarged testicles of the tanuki have been somewhat omitted from Pom Poko's anime form when translated for the Western market. Perhaps an indication that traditions are already being sacrificed in the pursuit of the acceptance of Western audiences.
Other shape shifters that have made their way from traditional folklore to modern fiction are the kitsune. The kitsune are foxes with shape shifting ability, often considered darker and more sinister than the tanuki, their mythology is deeply ingrained in the Japanese traditions. The kitsune are known to change into the form of humans and seduce individuals in tales of fated love, which has an obvious if strange polarity to the alien girl theory sited by modern anime and manga critics and analysts. The concept that the love between a hero and an 'alien' character is fated and short - he will often end up with the more socially suitable and usually less attractive 'girl next door' character. Notable kitsune characters include Sakura from the anime and manga Hyper Police, who has achieved eight and one fifths of her possible nine tails, in line with the tradition that a nine tailed kitsune has achieved its full power through wisdom and experience; and has cubs with a samurai Sakunoshin, although is yet to marry - another typical part of the kitsune story. Another kitsune worth mentioning is the relatively minor character Ten-Chan, in the manga series Pet Shop of Horrors, by Matsuri Akino, who appears a different pet in the eyes of each member of a quarrelling family. He is described as having the ability to appear in the form of the desires of each individual, another convention of the kitsune tradition, given the twist of being in the form of a cheeky young boy in the eyes of the young girl of the family and the reader. The Pet Shop of Horrors series uses many myths from many cultures, which adds a feel of rich diversity to the otherall quality of the manga. In terms of transformation it is a clear theme throughout that transcends mere incidental character detail and is more like a binding motif that brings together the separate stories throughout. From cute bunnies that turn to rampaging killers to the concept of mankinds existence as a disease on the planet that must slowly learn to redeem and change itself, transformation appears on a general, personal and even a more grandeous level.
The idea of coming of age might not have an obvious link to the topic of transformation, but tenuous at it may initially seem, this as human beings is our closest and most natural link to the apparently alien subject. In nature transformation is a slow and laboured process. The metamorphosis from tadpole to frog or catipilar to butterfly is one of slow physical change that in Western literature is often used to signify the coming of age of an adolescent and the complexities of passing into adulthood. A significant parallel in modern Japanese fiction is Yun Kouga's use of the symbolic yet subtle, to the point of being almost subliminal, image of the butterfly throughout the manga and anime series Loveless.
The story falls under the kemono genre of art and character design that feature, what a western reader may identify as therianthropes, characters that have animalistic physical qualities yet human personalities and lives. The characters are given the ears and tails of cats but these seem to be of no practical use or even a reflection of character nature but more a device used by the illustrator to starkly divide characters by means of their sexual experience. Where Loveless becomes relevant in terms of transformation is that the inhabitants of this world loose their tails and ears when they become sexually active. The transformation here is one of physical loss rather than gain, as a visual metaphor for the loss of virginity and membership of the adolescent world. Depicting the gain of sexual experience by this physical shedding of features alerts the reader to an intangible feeling of loss. What is lost is the uniform of innocence (physical cat qualities) and therefore the membership of an elite of the untouched. The visual motif of the butterfly is used throughout the manga series and allows the theme of transformation to transcend the plotline and become part of the visual fabric of the work.
The butterfly motif is also interesting as the catipilar transformed into the butterfly gains wings, freedom and physical beauty, where as the characters of Loveless loose their cat qualities, and therefore the cuteness that it evokes. This contradiction seems to highlight those in true life: the gained beauty and grace of adulthood marred by the loss of innocence and the apparent commodity of virginity. The representation of intangible transformation by tangible phyical means brings a new quality to the idea of transformation in art, transformation is more than an oddity or a curse (The Ranma 1/2 series) with dramatic scenes of physical change but a result of entering the adult world. The penalty for sexual experience is a physical form that is forever changed. The resulting effect is a fictional world of shotacon and lolicon taste where childhood qualities are considered cute and favourable (animal extremeties appearing on protagonists are often used when visually instructing the reader of a characters cuteness in a particular situation - a particular favourite for me would be Asato Tsuzuki in Yami No Matsuei) and transformation of an everyday kind (puberty and mental maturity) is given an air of the fantastic.
Transformation of this kind is also identifiable in Toshio Maeda's epic and contoversial title the Urotsukidoji (The Legend of the Overfiend). Although the physical aspect of the transformation process has been removed the stigma of the loss of virginity is apparent. Characters are transformed in terms of their once untouchable status, their vulnerability is exposed and the likelihood is often an untimely death. Their sexual innocence is a protective force and its removal is like being stripped of armour. Those who have a sexual awakening are dragged into the unprotected adult world where they are raped, tortured and murdered. This is very much like the conventions of Western horror movies where the young teenagers who consumate their relationships during the film will inevitably fall victim to the crazed killer of the title. Alecto, Ken and Yumi and Yufura all fall victim to their coming of age and new sexual experience. The Secret Graden Chapter of the OAV series features a plotline with a kingdom ruled by children who punish and destroy all those who become adults. The line between puberty and sexual awakening are blurred, as the two are inexplicably linked here, and the characters of Ken and Yumi even seem to suddenly age after their first sexual experience.
In Japan the legal age of consent to sexual activity is Thirteen years of age, and perhaps we have here the reason why the first sexual experience of an individual and their puberty or coming of age are considered almost as one in the literature mentioned. Although self discovery is a major part of puberty and therefore another fairly good reason for this thematic device. The transformation from child to adult is infact a long one where physical appearance, sexual experience and mental maturity do not necessarily corrolate. Literature of all origins often deal with this topic in an instant and easily understandable manner, using examples from the natural world and often depicting changes that in reality take many years in an instant, usually because of the confines and restrictions of a medium. Transformations in the coming of age bracket range from the subtle to the fantastic. Often the more subtle allusions are seen in stories of tragedy and love where transformation is a saviour or a sentence. For example the novel Ai No Kusabi, by Rieko Yoshihara. After Riki, a young man from the slums, is taken by Iason, the elite, as a pet both their lives are changed forever. When Riki is allowed to return to his old life he has not only aged but he has lost his wild spirit that his fellow gang members, and his lover Guy once knew. The novel has a feel of solemnity and a fear of loss to the point of inducing crazed bouts of shows of possesion in its characters, with an overall air of lament for all that once was.
In Ai No Kusabi the transformation is in the form of an intangible change that occurs when a person is taken from their native world, and the feeling of loss of a previous self after a possesive and intense, and, more significantly perhaps, a relationship rooted in love. Although we can not identify their roles in a relationship in terms of one that matches our society, it certainly mirrors the sense of loss felt by those left behind after a relationship. Transformation in Ai No Kusabi is a slow process with destructive consequences. Coming of age here is represented in the physical leaving behind of the slums and the gaining of a sexual master, that manages to give the novel a strange mix of melancholy and exhileration in the face of doomed love and social confines.The cathartic nature of tragedy lends itself to the theme, as the reader feels transformed and renewed by the emotional release at end of this tragic peice.
In a contrast to the works so far mentioned is the anime New Cream Lemon - Two People's Life of heartbreak. In this title sexual experience and activity is enabled to be consequence free. Rather than being transformed by the act of sex itself a young girl is given the power to transform her body to that of a mature woman, allowing her to be able to experience sexuality without the pitfuls and true consequences. Here sexual experience is not a catalyst for transformation from involunarable to vulnerable, child to adult, or desirable to undesirable as the body she uses is not her own. Perhaps rather a distasteful and iresponsible message is conveyed here, that disregards the need for mental maturity as well as physical, and appears to dismiss the idea of psychological consequences incurred by a premature sexual experience.
In many manga and anime sexual contact is shown as having a transforming effect, often the catalyst for a debilitating or embarresing physical change. Sexual contact or even simply contact with the opposite sex is shown as being somewhat of a dangerous affair that ultimately renders an individual impotent or left shamed. The concept of involuntary transformation or transmorgrification is somewhat of a disturbing idea, coupled with the idea that it is caused by physical contact, sends a sinister message on the consequences of physical human relationships. The norm in many manga or anime, that men are somehow left vulnerable or shamed by a female's touch encourages the reader to look at the context of their creation. Many believe the pressures of work and education in a male Japanese citizen's life are close to unbearable, and there are many who believe they find release in the manga that they read on the subway to work or home. If this is the case it is possible to see the growingly cynical male eye in the representation and depiction of physical relationships and an extreme physical representation of the common problem of 'not being good around girls'. The idea that mere touch can involuntarily cause a physical reaction seems to be rooted in the human paranoia of love as parasitic disease that takes over its host, and perhaps more crudely the male preoccupation with the embarressment of visible sexual arousal in a public place or at an inconvenient time; or even the stigma of premature ejaculation. Examples of sexual contact causing violent transformations are fairly common and frequent in manga and anime, ranging from it being a key theme or plotline to a comedic device often cursed to a minor character.
Terazuma, a fairly minor character in the series Yami No Matsuei, is possesed by his own Shikigami (a summoned creature) and as a result takes on the form of a beast whenever touched by a member of the opposite sex. Much to his embarresment he involuntarily changes form when he touches Hisoka, a particular pretty young male shinigami (guardian of death), a public display of a private thought of physical attraction. Perhaps Yoko Matsushita is making her own critique on the subject of the male inferiority complex and its preocupation with public debasement, as well as creating a little light relief in a sometimes dark series.
The somewhat surreal manga Yume Tsukai by Ueshiba Riichi turns this around a little by having a female character with much the same problem. Sexual contact causes a violent transformation, that leaves her body broken and intermingled with mechanical parts, flowers and monsterous mutations. Again sexual contact is portrayed in a negative light, instead of an empowering or pleasurable experience it is one that cripples and imposes feelings of guilt and inadequacy. In this instance there is no comedic value - purely a surreal visual concept.
An idea that sits in polarity to this concept is that of transformation to enable a character to engage in sexual contact. This idea is probably best found in the so called 'tentacle rape' genre, though I do begrudge using this turn of phrase, as I personally dismiss it being an actual 'genre' and see it more as a conceptual device or motif. That aside, it does give us another facet of the transformation theme. Demons and monsters sprouting tentacles and changing form in order to molest and attack are often seen in Toshio Medea's controversial works. The transformation provides a sinister dimension to already disturbing sexual scenes, serving as a plot device, allowing more graphic scenes to be included by avoiding strict Japanese censorship laws on the depiction of genitalia and adding in the violent or disturbing effect of a particular incident. Other transformations or mutations in Toshio Maeda's work include the spikes projected from Caeser's phallus upon climax in The Overfiend, and the enlargable clitoris of Miko Mido in La Blue Girl.
In contrast of this all sits Natsuki Takaya's charming shojo manga Fruits Basket. Innocent in comparison Fruits Basket is concerned with a cursed family who transform into the various animals of the chinese zodiac as a result of contact with the opposite sex. The innocent nature of this manga sits poles apart from concepts of sexual inadequacy and fantasies of demon rapes.
The transformations allow comedic situations and reflects the lighter side of the struggles of everyday life and love, although it does often touche on subjects such as the isolation caused by the family curse and the various difficulties of social integration.
Mutation and transformation is often portrayed Japanese art and media as a result of an individuals inability to cope with some sort of alien or intangible factor, or an extreme mental state. This can range from seething hatred and overwhelming desire for revenge to lust or the gain of psychic power.
Shinya Tsukamoto's haunting exploration of the vulnerability and mutability of the human form, Tetsuo: The Iron Man, a black and white film of the late 1980s, takes marrying horror and human psychology to utter extremes. The protagonist simply called 'the man' or 'metals fetishist', is shown mutilating himself by inserting scrap metal into his own body even before the catalyst for his mutation, a hit and run accident, befalls him. After the accident the driver tries to cover up the death and is eventually haunted by the victims attempt to gain revenge. The mutation of man and machine into one organism through pure hate is an interesting if disturbing one. The concept that extremes of emotions can create such monstrous mutations is on the surface fantasy, but contains the air of truth. The untold damage intense hate and anger have on the human mind are represented scored into the flesh of its victim, slowly transforming his body as a result of his own hate and with the need to exact his revenge, perhaps his mutation giving him the pysical means to do so. Sexual contact is also shown as the cause of the deterioration and mutation of the human form, in one scene his phallus changes into a drill during sex, perhaps yet another cynical male expression of the vulnerability of man's flesh to physical and sexual contact. The exaggerated and fictionalised negative consequences of lust and human intimacy. Many of the themes that are apparent in the film range from the character's latent homosexuality - there are also many homoerotic shots during the film - to a critique on Japan's growing industrialisation. Shinya Tsukamoto's sequel Tetsuo II: Body Hammer centres around a Japanese salaryman who begins to mutate after his son is kidnapped, again here the same formula is applied, creating the excuse for scenes of violent mutation and the physical coupled with psychlogical mutation and detoriation. It is clear that the physical mutation is the result of a person's sense of powerlessness, impotencey and rage when faced with a situation beyond their control, and a tangible expression of the effects of such immense emotional strain.
Katsuhiro Otomo's famous manga and anime Akira contains a striking depiction of physical mutation as a boy, Tetsuo, tries to cope with newly gained psychic powers. The grotesque mass of flesh and wires that is formed runs paralell to the disturbing new personality formed by the rush of power Tetsuo experiences, stiring up past experiences of inadequacy and self loathing; creating within him a psychotic need to prove his own strength. Inevitably his own weakness is revealed, his frail human body and mind cannot cope with the awesome power bestowed upon him. In the anime version of this story Tetsuo crushes his girlfriend with his own uncontrollably mutating and growing body, greater emphasizing the horror element of the theme. Tetsuo's form growing uncontrollably, loosing the sophisticated physicality of the human body begins to take on the characteristic of a simpler organism. Perhaps we are being reminded with a visual trigger of the concept of power described previously in the anime. Kei describes to Kaneda her ideas on true power, that the simplest forms, like plankton and amoeba, have true destructive power. A visual echo is created by Tetsuo's growing, simplyifying form - as his power grows his uselessness and destructiveness is made visual. As Kei explains in her theory on power - Amoebas don't build houses and bridges. They just devour all the food around them - absolute power is seen as a destructive force and the theme is carried with the visual metaphor of Tetsuo's involuntry transformation. The form Tetsuo gains is also a nightmarish physical representation of the psychosis induced by the overwhelming power he has gained, as well as the past memories of inadequacy and weakness that rear their head when he is finally empowered.
Henshin is the Japansese phrase for transformation, but has now become widely known as a genre in itself, typified by the protagonists physical transformation in order to engage in a fight or battle. The battle transformation sequence has today become a varied and mixed field of wonderfully creative sequences and has evolved into the centre piece of many manga and anime titles.
Sailor Moon originally a manga by Naoko Takeuchi, but has been taken to many forms including anime, musical theatre, tokusatsu and video game, makes henshin sequences an important part of the plotline. Sailor Moon fuses henshin with the Magical Girl genre creating one of the most popular shojo sentai series ever, and has brought transformation sequences to the Western audience on mass.
Another popular series is Tokyo Mew Mew by Mia Ikumi. The protagonists all mysteriously infused with the DNA of endagered animals, gain a kemono appearance and special powers in a battle situation, typical of the henshin genre.
These examples of sweeter than sweet girls who have the ability to transform to fight evil in the name of truth and love is typical. These titles for girls run opposite the typical titles for boys such as Kamen Rider and Kikaida. The purpose here is true entertainment and escapism, creating fantasy worlds where the viewer can escape the limitations of their own flawed form. Transmutation as such which is evident in many Western titles from Superman to the British cartoon Bananaman . Perhaps more interestingly the titles in which the henshin norm is deviated, we can find messages on the human psyche and critiques on the topics of violence and aggression. Titles containing random demon transformations are varied in quality and design and are seen throught the anime medium. One notable title is Yoshiaki Kawajiri's Wicked City. A post-apocolyptic world of mutants and demons capable of fantastic feats of mutation in violence filled battles and scenes of sexual assault. Mutation is used alongside violence and rape to create a visual assault of horror that grates against the love story slowly growing alongside. The contrast created within the piece is stark and the feel of the whole anime is one true to Hideyuki Kikuchi's original series of novels. The transformations in battle seem a horrific deviation of the mid-battle transformations of the conventions of henshin, and although can not be classed as part of the genre are an obvious paralell. The catalyst of an enraged battle causing grotesque transmogrifications sits uneasily stylisticly yet comfortably thematically alongside the anime's motifs of rebirth and the unity. The underlying themes perhaps being the effect of hate and intolerance, the unification of divided groups, love, rebirth and the futility of violence and prejudice. The transformations clearly have an aesthetic value, adding a horror dimension to a simple fight scene, and giving an excuse for some stunning visuals, but should also be considered on this analytical level, hideous mutations in battle are only the weapons of the antagonists of the title, conforming to the roles of good and evil and clearly defining moral guidelines in the apparently immoral and desolate world.
The theme of transformation or perhaps more appropriately the appearance of transformation as a visual concept in Japanese anime, manga, doujinshi, film and novels, is such a vast one, full of cultural allusions and symbolism, hidden meanings and critiques of the human psyche.
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| Transformation is all around us, as the seasons change and the landscape yields and bends with the weather of our earth; as we grow as individuals and our society evolves; we as humans strive to express this, depicting naturally all that is around us. The art of all the cultures of the world is an invaluable commentry on its peoples, we must preserve our thematic conventions as well as explore new avenues to create something that truly reflects what it is to be human. Our existence is ephemeral, our world forever different and new, art reflects this beauty and fragility, and transformation as a thematic device is the glue that binds this all.
About the writer (Lees Sharon-Ann):
I am currently trying to teach myself Japanese (I'm a terrible student so thought it would be best to be my own teacher!), and I have now earned a new respect for linguists everywhere. I'm hoping that this will enable me to be able to help out a little more with translation projects and the like.
A new Eastern food store has opened up in the town where I live - which is great! I love the aesthetics of the boxes as well as the yummy snacks. Everyone should try Pocky, Pretz or Collon (pizza flavour Pretz is my current favourite!).
New releases I'm looking forward to are - in manga Yami no Matsuei Vol. 11, Earthian Vol. 3 and Loveless vol. 2. In terms of films Silent Hill looks promising (I think I'll go to an evening viewing to make it extra spooky! The game has such atmosphere, so I hope the film is scary).
Books I'm reading are Beneath the Wheel by Herman Hesse, The Torture Garden by Octave Mirbeau, Battle Royale by Koushun Takami and the poetry of Hart Crane (The Broken Tower is fantastic).
Other things I love in my life right now - my pet ferret Suzie - playing Katamari - and working on my own artwork (conventional anime/manga images in unconvential mediums like fabric and stitching...).
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