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Does anime have a Nazi problem? Some Jewish fans think so.
TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw.
In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way.
In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans.
The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”
Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”
“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few.
Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities.
“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”
These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war.
“Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”
But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices.
“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”
hi
anime and manga have an antisemitism problem
good day
— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022
East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.
But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.
“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.
“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.
As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.”
“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said.
Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.
“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”
In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences.
Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.
“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”
“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)
Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.
“I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”
Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.
Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.
“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”
Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating. Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.
“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.
“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels.
In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.
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A ‘deficit of courage’ killed the free press in Germany. Will American journalists find the courage to thwart Trump?
Paul Reusch was managing director of a major German industrial conglomerate known as GHH, whose holdings included Bavaria’s largest newspaper, the Münchner Neueste Nachrichten.
After two meetings with Adolf Hitler early in 1932, Reusch signed an agreement that the Munich broadsheet would refrain from “all unwarranted and personal attacks against Hitler and individual National Socialist leaders.”
One year later, Hitler lackeys were calling the shots in the newsroom, Jewish journalists had been forced out, and the newspaper was spewing hate propaganda.
The Third Reich brutally smashed free speech. Nearly a century later, it’s America’s Fourth Estate that is getting battered — by Donald Trump’s drive to muzzle his critics by exploiting the greed and hunger for power of corporate media executives.
Scott Pelley’s firing and the turmoil at CBS News are the freshest manifestations of this threat. But it’s been going on since the start of Trump’s second term — witness the craven settlements by ABC News and CBS News of frivolous lawsuits brought by Trump last year, his favored treatment of MAGA-aligned outlets, and his dehumanization of actual journalists.
“The news executives are acting as though, (if) we just placate Donald Trump we’ll get through this,” veteran TV journalist Jim Acosta said the other day in an interview on MS Now. “We have a deficit of courage and honor in this country right now and we need to get back to it.”
It was a deficit of courage that killed the free press in Weimar Germany. And like Paul Reusch, German media baron Alfred Hugenberg is a case study in corporate submission to authoritarianism.
Hugenberg was a steel executive, ultra-nationalist politician, and owner of some 50 provincial newspapers, of the Telegraph-Union wire service, as well as Ufa, the Third Reich’s largest producer of movies and newsreels. The Great Depression hollowed out Germany’s newspaper market, allowing Hugenberg to use his considerable capital to buy distressed papers and blanket the market with articles calling for an end to democracy.
Hitler’s Nazis and Hugenberg’s German National Peoples’ Party joined forces in 1931 in the Harzburg Front, an attempt to topple Chancellor Heinrich Brüning. Although the alliance ultimately unraveled, it brought huge financial contributions to the Nazis from German industrialists.
After Hitler came to power he struck rapidly to muzzle any dissent, either shutting down newspapers or taking them over to serve as cogs in the Nazis’ propaganda apparatus.
As America nears its 250th birthday, media turmoil is playing into the hands of Donald Trump’s authoritarian ambitions.
Trump’s obsession with silencing truth-writing journalists kicked into overdrive early in his second term, with his banning of The Associated Press, my former employer, from the Oval Office and from Air Force One, the Trump administration dictating who gets to be in the White House press pool, and giving preferential treatment to journalists who ask softball questions or can be relied on to make fawning statements about Trump’s grandiose ideas, as Trump’s personal insults toward journalists — mainly women — pile up in number and in viciousness.
What’s been happening at CBS News and Scott Pelley’s firing are warning signs of moves by Trump to take control of news media and suppress criticism of him. The drama started last summer with CBS’ parent company — Paramount — agreeing to pay Trump $16 million to settle a toothless lawsuit over the editing of a 60 Minutes interview with Kamala Harris. And then came approval by the FCC — led by Trump loyalist Brendan Carr — of Paramount’s merger with Skydance Media. No quid pro quo here!
David Ellison, the CEO of Paramount Skydance, hired Bari Weiss to lead CBS News. After firing a half-dozen top people at 60 Minutes, Weiss was accused by Pelley of “murdering” the vaunted TV news program and doing Trump’s bidding.
“My impression at the time was that she was putting a thumb on the scale on behalf of the administration. Constantly looking out for the views of the president,” Pelley said in an interview with The New York Times published this past Sunday.
Weiss and CBS News have denied Pelley’s allegations.
There’s more turmoil on the horizon — and more reason to fear the Trump administration will seek to deepen its influence on news operations.
This past February, Paramount Skydance and Warner Bros. Discovery signed an agreement for Paramount to acquire WBD for $110.9 billion, and WBD shareholders approved the merger. Whether the deal goes through is up to regulators. The Trump administration is eager to see Ellison, the son of Oracle CEO and Trump buddy Larry Ellison, calling the shots for CNN. Defense Secretary Pete Hegseth said a few months ago: “The sooner David Ellison takes over that network, the better.”
Ellison has said “editorial independence will absolutely be maintained” at CNN. But the purges at 60 Minutes are hardly reassuring. Jim Acosta maintains that the media conglomerate resulting from the merger of Paramount Skydance and Warner Bros. Discovery “will essentially act like a state media organization in support of Donald Trump.”
There are calls among journalists to show more support for each other, and to stand up to Trump when he personally attacks them. The optics at this year’s White House Correspondents Dinner weren’t great, with journalists giving a warm welcome to a man who regularly calls them “stupid,” “fake news,” “horrible,” “terrible,” among other insults. I wonder how they would have responded had a gunman not interrupted the proceedings and Trump gave a scathing speech about the assembled members of the Fourth Estate.
Acosta and other journalists are urging their colleagues — as well as news executives — to show more backbone.
“They (the Trump administration) are trying to put together a state-dominated media system in this country. And it has to be stopped,” Acosta said.
“There are a lot of journalists who can do something about it, and a lot of corporate executives who can do something about it. “
Acosta is not wrong.
Journalists working in the Third Reich were a mixed bag of Nazi fanatics, sycophants, opportunists, and career professionals who may have felt queasy about collaborating with the Nazis but kept quiet about it.
Resistance could have fatal consequences. Fritz Gerlich, editor of the Munich-based newspaper Der gerade Weg (The Straight Path), was murdered at Dachau. Erwein von Aretin, political editor at the Münchner Neueste Nachrichten, was also hauled off to Dachau, but survived. Editors and reporters at the Münchener Post, a pro-democracy newspaper owned by the Social Democrats, were rounded up, jailed, and after their release ostracized and forced to live in penury, a story I tell in my book Enemy of The People: The Munich Post and The Journalists Who Opposed Hitler.
German journalists never put up any serious resistance to Hitler’s suppression of the free press at least partly because most of the populace had turned against democracy.
American journalists are in a different situation, one far less perilous than that of their German colleagues. They might lose access to administration officials by standing up to Trump, perhaps forfeit their seat at press conferences to MAGA media, be banished from Air Force One, suffer juvenile insults from Trump, or anger their corporate bosses.
But today’s journalists need to ask themselves this: Isn’t standing up for democracy worth more than a seat in the briefing room?
While interviewing Trump on Meet The Press this past Sunday, Kristen Welker showed how it should be done, persisting in holding Trump to account. When Welker challenged Trump’s claims of election rigging by Democrats, he exploded.
“We’re like a Third World country,” he yelled at Welker. “Your elections are crooked. And you’re crooked, and Meet the Press is crooked, and so is ABC and CBS and CNN.” Red-faced, Trump stood up and stormed out
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YiddishPOP can bring more diversity to American Jewish education
Every Sunday morning, a group of families in Stockholm, Sweden, meets in a local school to create handicrafts, do gymnastics — and learn Yiddish.
Katka Mazurczak, the instructor of this grassroots group called The Yiddish Club, told me that the families seem to really enjoy the weekly Yiddish immersion. One of the resources she uses is YiddishPOP, a free online animated and game-based learning tool that features short episodes about a young teenager named Nomi, her robot sidekick Moby and her friends.
I’ve known about YiddishPOP for years and often share its videos with my grandchildren. The episodes cover topics that are familiar and easy for children to relate to. In one, a friend of Nomi’s finally scores a basket. In another, Nomi and Moby laugh as they look at their comical reflections in funhouse mirrors.
Each story is accompanied by a video clip presenting the new vocabulary and grammar, interactive games and a multiple choice quiz.
“Children love YiddishPOP,” said Mazurczak, who also uses the program when teaching kids in more formal school settings like the Stockholm Jewish Hillel School, known as Hillelskolan. “It has captivating graphics, clear speech and the movie goes at a good pace. Some episodes are really funny and kids laugh out loud.”
Part of the appeal of YiddishPOP, particularly for beginners, lies in Moby’s slapstick antics. I too find myself laughing during those scenes.
In a time when seeking diversity has become a main focus in schools across America, Jewish educators might want to consider introducing young students to the multi-faceted language and culture of Ashkenazic Jewry, using a contemporary language learning tool like YiddishPOP.
Teaching the Yiddish language through animation and interactive games helps it come alive for children, depicting it as a natural, even cool way to express Jewish identity, rather than stereotypically sending the language to the dustbin of history.
One school that has tried out YiddishPOP is the Krieger Schechter Day School in Baltimore, MD. When the school piloted the program with its third-grade class last year, the director of the lower school, Toby Kaplowitz, was impressed.
“Though students had just four sessions, they were truly engaged and walked away with both a sense of the language and an appreciation for its connection to their Jewish learning,” Kaplowitz wrote in an email. Krieger plans to continue using YiddishPOP with these same students, as they transition to fourth grade.
Last year, YiddishPOP began distributing $500 microgrants to help teachers and parents bring the Yiddish program to schools. Dana Yudovich Katz, a teacher at Kehillah High — a supplemental program for students in grades 8–12, run by the Jewish Federation of Greater Houston — was the first recipient. She added YiddishPOP to a course she had initiated with the teens called TAM: A Taste of Yiddish Language and Culture. Tam is Yiddish for “flavor.”
Most of the students came away from using YiddishPOP with a positive feeling towards the language. As one student in Yudovich Katz’s class told her: “The film was good at using the words in a way I could understand because it was just slow enough.”
The YiddishPOP team is now working on teacher materials that will make it easier for people without a background in Yiddish or language teaching to use YiddishPOP. Teachers and school administrators who’d like to apply for a YiddishPOP microgrant can do so here until July 31.
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UK Jewish leaders demand answers after Muslim police group paper calls Zionism a form of hatred
(JTA) — British Jewish groups say they are alarmed about revelations that a fraternal society for Muslim police officers published a policy paper that described Zionism as a form of anti-Muslim hatred and called the Israeli army a “Zionist terrorist group.”
The Board of Deputies of British Jews called the paper posted by the National Association of Muslim Police “disturbing” in its presentation of Jewish identity, history and the nature of antisemitism.
“If this is being circulated among officers, it poses a direct challenge to the integrity of policing and it should be withdrawn immediately,” the group said.
NAMP has distanced itself from the report and, in a statement, rejected any allegation that the group “supports Hamas.”
The 39-page paper titled “From Past Prejudices to Present Policies: Confronting anti-Muslim hatred and Promoting Human Rights,” was written by NAMP’s then-vice president, Khaldoun Kabbani, and published in July 2025. It says “Zionism represents one of the manifestations of anti-Muslim hatred”; likens the war in Gaza to the Holocaust; and disputes facts about Hamas’ Oct. 7, 2023, attack on Israel, including that Israeli children were killed.
The Spectator, a right-wing British newspaper, drew attention to the report in a piece published on Friday that said the report illuminated “the disturbing truth about the National Association of Muslim Police.” The group has a formal affiliation with 16 of 43 police departments in the U.K. and says it represents more than 20,000 officers.
Kabbani, a forensics officer, was briefly the chair of the Scottish Muslim Police Association but planned to move abroad after retiring earlier this year, according to a post by the group on LinkedIn.
The revelation of the NAMP report comes at a time of heightened tension over policing in the U.K., amid both a surge in anti-Jewish crimes and a renewed uproar over a December murder that has fueled allegations of “two-tier policing” that treats some victims differently from others. The Spectator referenced the victim, Henry Nowak, in the column about NAMP.
The NAMP report has spurred distress for many British Jews who are on edge amid a string of violent incidents targeting Jewish communities. The Campaign Against Antisemitism, a watchdog group, said its polling shows that 83% of British Jews do not think the police are doing enough to protect them — and that the report suggested their concerns were well founded.
“The people responsible for publishing this extremist screed on the official police.uk web domain are unfit to be police officers and must be immediately investigated by their respective forces’ professional standards departments and dismissed,” Steven Silverman, CAM’s director of investigations and enforcement, said in a statement.
“British Jews have long suffered two-tier policing that sees antisemitic crime go unpunished,” he said, adding that CAM would press the British government “ensure a clear message is being sent. This cannot pass with the document being quietly deleted.”
The report was removed from NAMP’s website over the weekend. The group distanced itself from the report in a statement published on Tuesday, saying that it had removed the report “immediately” after learning about its existence and emphasizing that the author was “no longer associated” with NAMP.
“We understand that the publication of this document has affected several communities, and we regret any concern, discomfort, or misunderstanding it may have caused,” the group said.
It added, “NAMP categorically does not ‘defend’ Hamas or any other proscribed organisation. We condemn all forms of terrorism and extremism.”
The document is “deeply troubling,” a spokesperson for the Jewish Leadership Council, which coordinates British Jewish groups, said in a statement.
“This document appears to falsely associate an ideology held by the majority of Jewish people as a threat to Muslims. It also engages in deeply troubling Holocaust inversion and denial of some of the worst atrocities carried out by Hamas on October 7th,” the spokesperson said. “At a time of rising antisemitism including violent attacks on British Jews, this document further threatens community cohesion and police forces should be clear in distancing themselves from it.”
The Board of Deputies of British Jews said it plans to speak with the “relevant” government and police departments to discover the paper’s provenance, how it’s being used and “how to ensure that the valued relationships of trust between British Jews and the police are not being undermined.”
The Metropolitan Police of London, the largest police department in the U.K. and a formal NAMP affiliate, declined to comment on the report. The department has recently stepped up policing in Jewish communities in an effort to stem antisemitic violence.
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