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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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What Iran’s Internet Blackout and the Patagonia Fires Revealed About Global Disinformation
Cars burn in a street during a protest over the collapse of the currency’s value, in Tehran, Iran, Jan. 8, 2026. Photo: Stringer/WANA (West Asia News Agency) via REUTERS
The lie that raced across social media during Argentina’s recent Patagonia wildfires was not just grotesque. It was revealing.
Within hours, recycled images and viral posts blamed Israelis for igniting the fires. The language was familiar: vague references to “foreign states,” insinuations of coordination, and the ritual refrain that “the media” was covering it up. Argentine journalists documented how quickly the fires became a vehicle for antisemitic conspiracy theories, including false claims involving an “IDF grenade” in Patagonia.
Days later, a seemingly unrelated anomaly appeared in Europe. A cluster of pro-Scottish independence accounts on X, previously prolific, fell abruptly silent. Their disappearance coincided precisely with Iran’s imposition of a nationwide Internet shutdown amid domestic anti-regime protests. British reporting and independent researchers had already identified many of these accounts as part of an Iranian-linked influence operation masquerading as Scottish voices. When Tehran pulled the plug at home, the “Scots” abroad went quiet too.
Two continents. Two narratives. One underlying mechanism.
Authoritarian regimes — and the ecosystem of state media, proxy outlets, and cutout accounts they cultivate — are pushing democratic societies along their fault lines. Increasingly, Israel is authoritarian regimes’ accelerant of choice.
Influence operations are often exposed by sloppy tradecraft: recycled phrasing, unnatural engagement patterns, or accounts created in batches. But recent platform transparency has added a more revealing diagnostic: origin.
As researchers gained better tools to determine where accounts actually operate, a striking pattern emerged. Accounts branding themselves as “MAGA,” hyper-focused on American culture-war issues, were frequently traced to Bangladesh. Accounts claiming to post from Gaza — offering supposedly raw, on-the-ground testimony during the war — were often operating from Pakistan or Indonesia.
This matters because it punctures a central illusion of the online age: that what feels like organic, local outrage usually isn’t. Much of it is, in fact, geographically divorced from the societies it claims to represent.
Iran’s January 2026 Internet shutdown and its cyber iron curtain made this impossible to ignore. When Tehran cut connectivity nationwide, clusters of supposedly local voices in Western democracies stopped posting. The blackout did not merely suppress dissent inside Iran; it exposed the scaffolding of external influence operations. When the lights go out at headquarters, the field offices go dark too.
Once you see the pattern, the choice of disguises stops looking random.
Democracies argue in public. That is not a flaw. It is the point, and it is precisely what authoritarian systems exploit.
Separatist politics, immigration debates, populist movements, and foreign conflicts provide ready-made content pipelines. Operators do not need to invent controversies; they need only to impersonate participants and intensify the most divisive frames through distortion, omission, and outright falsehood.
The Scottish case is illustrative, not exceptional. The same architecture animates accounts posing as Midwestern Americans furious about election integrity, or as desperate Gazans posting emotionally fluent English from thousands of miles away. The objective is not persuasion in any classical sense. It is erosion — of trust, cohesion, and confidence that democratic disagreement reflects real people rather than staged performance.
So why did an environmental disaster in Argentina metastasize so quickly into an “Israeli plot”?
Because Israel is uniquely useful to anti-Western authoritarians.
Israel sits at the convergence of several propaganda imperatives. It is framed as a Western-aligned democracy in a region hostile to that model — making it a proxy target for liberal democracy itself. It allows classic antisemitic conspiracies — hidden power, omnipresent influence, coordinated deception — to be laundered through the more respectable language of “anti-Zionism.” And it offers moral intoxication: if Israel is cast as a singular source of global evil, then every crisis, anywhere, can be folded into a pre-existing narrative of resistance to that evil.
Coverage of the Patagonia fires demonstrated this dynamic precisely. Israel was inserted reflexively into an unrelated catastrophe because audiences had already been conditioned to accept Israel-blame as plausible background noise. The speed was the point.
These narratives are not born on social media alone. They move through a supply chain.
At one end are state broadcasters and aligned outlets — Tehran, Moscow, Doha, Beijing — each with its own tone but a shared objective: undermine trust in Western institutions and normalize cynicism or outright hostility toward democratic governance. At the other end are social platforms, where content is stripped of provenance and redistributed as “what ordinary people are saying.”
These regimes often fit a familiar pattern: control information distribution at home, and export confusion abroad. When regimes clamp down domestically, they often compensate by escalating external information warfare. Destabilizing other societies becomes a way to offset internal fragility.
If the volume of Israel-related falsehoods feels overwhelming, that sensation is intentional.
The Scottish accounts that vanished, the Bangladesh-based “MAGA” profiles, the Pakistan- and Indonesia-based “Gaza voices,” and the Patagonia wildfire conspiracy are not separate scandals. They are iterations of the same method: impersonation, amplification, moral outrage, repeat.
The temptation is to treat each viral lie as a discrete incident: debunk it, move on.
But the pattern is systemic.
Israel is not merely a target in this ecosystem. It is a tool — the tip of the spear in a broader campaign designed to erode confidence not only in Israel, but in the legitimacy of democratic societies themselves.
Israel is the test case — but free societies are the ultimate target.
Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.
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Unreported: Palestinian Authority Supports China’s Plan to Seize Taiwan
Chinese Foreign Ministry spokesperson Lin Jian attends a press conference in Beijing, China, April 10, 2025. Photo: REUTERS/Tingshu Wang
Just one day after China defied and alarmed the US and the West by surrounding Taiwan with a military air and sea blockade simulation, including threats that the “reunification” of Taiwan and China is “inevitable,” the Palestinian Authority (PA) again showed its allegiance to the anti-US axis by declaring its support for the “One China policy”:
The State of Palestine re-emphasized its full commitment to the One China policy … to maintain its [China’s] territorial unity and also emphasized its opposition to [America/Western] interference in China’s internal affairs.
[WAFA, official PA news agency, Dec. 31, 2025]
China’s drills simulated a blockade of key ports and airspace control, involving army, navy, air force, and rocket units with live-fire as a rehearsal for isolating Taiwan in a conflict scenario.
Taiwan’s independence is not just a minor American interest, but is critical for the West. Taiwan’s semiconductor industry is vital to Western economic and technological security. Taiwan produces over 60% of the world’s semiconductors and more than 90% of the most advanced chips, and manufactures the vast majority of leading edge logic chips that power today’s AI data centers.
The West’s ability to survive and advance technologically is dependent on Taiwan remaining free. China, on the other hand, pledges to seize the free and democratic island and subjugate its people under its dictatorial Communist rule. This would enable China to appropriate its technology and achieve the global economic and military supremacy it seeks.
Incredibly, even while the US and the West’s billions of dollars in funding have kept the PA viable, the PA, as a consistent policy, has turned its back on its supporters to embrace China’s goal of seizing Taiwan.
Just a week after the PA’s statement above, Mahmoud Abbas received China’s Special Envoy to the Middle East, Zhai Jun, and repeated the anti-Western policy:
The president re-emphasized the State of Palestine’s support for the “One China” policy adopted by the People’s Republic of China in maintaining its territorial integrity and its opposition to interference in China’s internal affairs.
[Official PA daily Al-Hayat Al-Jadida, Jan. 8, 2026]
The PA has supported what it called “reunification” for years:
Reaffirming its commitment to the one-China principle, the Palestinian Presidency underlined the significance of preserving China’s territorial integrity, including the status of Taiwan … The Presidency further voiced its firm support for China’s right to defend its sovereignty and territorial integrity, endorsing the reunification of the entire land of China, which includes Taiwan.” [emphasis added]
[WAFA, official PA news agency, English edition, Jan. 13, 2024]
President Mahmoud Abbas and his Chinese counterpart Xi Jinping [met] today … [Abbas] reiterated Palestine’s unwavering support to the one-China policy, recognizing Taiwan as an integral part of China. [emphasis added]
[WAFA, official PA news agency, English edition, June 14, 2023]
Abbas Zaki, PLO/Fatah Commissioner for Relations with Arab States and China:
I express the stable and well-rooted position of Fatah in its support for the People’s Republic of China against Taiwan, which we consider an integral part of the united Chinese lands. [emphasis added]
[Fatah Central Committee member Abbas Zaki, Facebook page, Jan. 8, 2023]
This is part of a long-term PA policy of identifying with and embracing goals of the anti-American axis.
Were China to successfully invade Taiwan, it would have near total control of global computing components. It would literally control the West’s source of Taiwan’s technological manufacturing capabilities, potentially leading to a crippling of the supply of technology components.
The PA’s backing of China’s goals for Taiwan — as part of the global anti-American axis — should convince the US and Western countries that the PA is not an ally, and that were a Palestinian state to be created, it would be aligned with the adversaries of the West.
Itamar Marcus is the Founder and Director of Palestinian Media Watch (PMW). Ahron Shapiro is a contributor to PMW, where a version of this article first appeared.
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Shekel’s Gains Represent Strong Fundamentals, Says Bank of Israel
New Israeli Shekel banknotes are seen in this picture illustration taken Nov. 9, 2021. Photo: REUTERS/Nir Elias/Illustration
The shekel’s rise to around four-year highs against the dollar reflects the resilience of the Israeli economy and comes amid solid export performance, Bank of Israel Governor Amir Yaron said on Wednesday.
Speaking to Reuters on the sidelines of the World Economic Forum in Davos, Yaron said the Israeli currency’s strength was also acting as a tailwind that was moderating inflation.
“The appreciation of the shekel represents a lot of the positive fundamentals in terms of geopolitical developments and certainly post the ceasefire,” he said of the October 2025 ceasefire in Gaza.
“We understand the appreciation makes it difficult for exports. But we’ve seen exports of both goods and services rise in the last two readings,” he added of the roughly 12% rise in the shekel against the dollar since the start of 2025.
Asked at what point the central bank would consider intervention to lower the level of the shekel, Yaron said: “The FX tool is part of the toolbox of the Bank of Israel. We have many tools for facilitating our policies.”
In the past, the central bank had bought tens of billions of dollars to keep the shekel from appreciating too fast and harming exporters. It sold $8.5 billion of foreign currency at the outset of the Gaza war in October 2023 to defend the shekel, but it has largely stayed out of the market since.
The Bank of Israel unexpectedly cut its interest rate by 25 basis points earlier this month, a second successive cut after lowering it in November for the first time in nearly two years.
It cited the shekel’s strength and an improving inflation environment after the ceasefire, which led to an easing of the supply constraints that emerged during the two-year war. The inflation rate currently stands at 2.6%, within an official 1-3% target range.
Yaron underlined that demand in the Israeli economy had remained robust during the conflict and that the bank had not so far seen it surge further as a result of the ceasefire.
“We haven’t seen demand erupt the way it did post-COVID,” he said.
He noted that the bank‘s research department had identified a baseline scenario of a further 50 basis points of cuts down to an official rate of 3.5% by the end of this year, notwithstanding the high level of uncertainty facing all central banks.
“We will have to see how much demand picks up, how much supply constraints are mitigating, what is happening with the tailwind from the shekel,” he said.