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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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The original anti-Zionists have been all but forgotten. Molly Crabapple wants to change that.
I first met nationally acclaimed artist and journalist Molly Crabapple in 2020 during the dark days of COVID. After discovering that we had both studied Yiddish at YIVO, albeit in different classes, we did a socially distanced fresh-air visit to Mt. Carmel, the Jewish cemetery in Queens where Sholem Aleichem is buried. Many tombstones there are inscribed not in Hebrew but in Yiddish. They include the graves of people who, in life, belonged to the Bund.
Founded in 1897 in Eastern Europe, the Bund was a socialist revolutionary group whose name, translated from Yiddish to English, is General Jewish Labor Union (“bund” is Yiddish for union). By the 1930s, Bundism in Poland, where most Ashkenazic Jews lived, had grown bigger and more politically powerful than Zionism. The group was a tireless promoter of Yiddish as the linguistic and literary underpinning of Jewish peoplehood. Bundists also fiercely opposed Zionism and a Jewish state; they believed in fighting for democracy and inclusion in the countries where Jews already lived.
The organization ended up being destroyed not just by the Nazi Holocaust but also by Stalinism. Except for people like me, who’ve been ensconced in the Yiddishist world, it is nearly forgotten today by all but a few academics. But by the time we met, Crabapple was writing a book about the Bund.
Almost six years later, she has finished it. Titled Here Where We Live is Our Country, it is part hefty historical documentation, part loving family memoir, and part literary nonfiction. Thoroughly engaging throughout, it moves back and forth from the author’s lefty-artsy life in contemporary New York City to earthshaking events in vintage Jewish Europe. Crabapple has disinterred the memory of a once-vibrant movement that waned even as its nemesis, Zionism, waxed.
I met her last month in her fifth-floor walkup apartment in Williamsburg to talk about how she made her book. Our conversation is edited for length and clarity.
Here Where We Live devotes significant space to the saga of your great-grandfather, Sam Rothbort. As a young man in 1904, he immigrated from the Pale of Settlement to New York City, under somewhat murky circumstances that he barely discussed after the move. In America, he made a living as a self-taught artist, including on a dairy farm in the Catskills, an egg farm in Long Island and in a big house near Sheepshead Bay in Brooklyn. But he died over a decade before you were born. When did you first realize he’d been an interesting guy who you wanted to tell the world about?
I was fucking born knowing he was interesting! My mother and my great-aunt and my dad told me about him constantly. I was surrounded by his paintings and stuff that he said. After he died, my great-aunt Ida still lived in his house. As a child, I would visit and it was exactly like when he was alive. I remember the pigments and oils still on the palette in the basement.
How did you find out he’d been in the Bund?
I’d always known he was involved in something illegal before he came to the United States. It was a cool family anecdote. In a book from 1952 that he published about his art, he wrote that as a teenager and young man he hadn’t known much about girls because “I was in the underground.” Another book, a catalogue of his art from a show, said he’d been in the Bund. My mom had a million of those catalogues in a bookcase, and I’d been looking at them since I was 11 or 12 years old. I also saw one of his watercolors, of a woman throwing a rock. He’d titled it “Itka the Bundist Breaking Windows.”
I had very little idea then of what “the Bund” was. But as an adult, one of my bad habits has been that sometimes when I get drunk, I Google things. That might be how I first understood.
From his own unpublished writing, you later found evidence suggesting that Sam might have fled to America at age 22 because he’d joined other Bundists in shooting a Tsarist policeman during a state-encouraged pogrom. You also read the yizkor book for Volkovysk, a town in what is now Belarus. It was Sam’s hometown. He is cited in the book as having helped produce its chapter about the Bund.
Look at this! [She walks me to her bedroom and points to an antique photograph on the wall.] When I was younger I’d always only thought of this as a very cool old picture that my mom had. But this same photo is in the yizkor book! It says it’s the members of the Volkovysk Bund in 1905. It’s Sam’s friends a year after he left for America. Look at this guy in the photo — he’s hot! Which one do you like the best?
The blonde.
Ugh!
I got really obsessed trying to track down these guys. When I went to the cemetery where my great-grandfather is buried I saw the tombstone of one of them. Later, in a box of family memorabilia, I found a photo of this same person in an old Yiddish news clip about people in New York City who were in the Workmen’s [now Workers] Circle’s Volkovysk branch. I asked the cemetery who was paying to maintain the grave. It was this guy’s grandson. I contacted him and he said his own father was still alive but very old. “Can you just ask him to look at this photo and see if that’s his dad?” I asked. I said I was writing about a revolutionary group. He says, “My grandfather never would have been involved in that! He was a truck driver.” And he hung up.
Why couldn’t the grandson entertain this history about his grandfather? Why did he not know it?
The Bund was an organization incredibly devoted to Yiddish language and literature. But it was also a socialist revolutionary political party. One thing I’ve noticed about how it has been written about is that certain things are de-emphasized and certain things emphasized. In the 1950s in the U.S. in the McCarthy years, Bundist survivors of the Holocaust were terrified they would be accused of being Communists, and deported. They had no faith that Americans would know the difference between a socialist and a communist. I think that sometimes the Bund’s’ Yiddishism is emphasized far more than the fact that they were revolutionaries. To focus on linguistic and cultural things is safe. To talk about revolutionaries as internationalists — and as people who always opposed Zionism — is dangerous.
Were you raised Jewish?
My father is Puerto Rican and a Latin American studies professor who’s a Marxist. He told me about Marx’s theory of surplus value when I was 6 years old. I’ve been a leftist in a leftist family all my life! My mother — Sam’s granddaughter — is very strongly culturally Jewish. When I was a child we’d do Hanukkah lights, and she made the best latkes. We were not religious, but I identify strongly as a secular Jew. I studied Yiddish in order to do research for the book. I’m not so good at Yiddish, but I can work my way through a socialist text using a dictionary.
I remember when we were at the cemetery and you were so excited about having just discovered that the political work of some Bundists in Poland was armed self-defense. They fought in militias, with their bodies and with weapons, to protect Jews from murderous pogroms, murderous Communist Party violence against socialists, and, finally, murderous Nazis. You called these militia members “thugs.”
I loved them!
You mentioned their resistance in a piece you wrote in 2018 for the New York Review of Books about the organization. I’ve heard that many people were astounded and very happy to learn about this self-defense and to discover the Bund.
Especially young Jews, like in their 20s. They had no idea that Jews had fought back in Europe even before the Holocaust, or they had only vague ideas about the Warsaw Ghetto uprising and that Bundists played a major role in it. It was very meaningful for them.
So much for the idea that only Zionists have been modern Jewish fighters.
Zionists have tried to say that they were the only tough Jews. Which is utterly untrue.
What do you think is most original about your book?
It’s very concerned with the emotional life of being in a movement. I think that sometimes the way that leftist movements are written about is as a series of conferences and decisions that are written down as texts, and people sign onto a resolution because that’s what they are thinking. The writing doesn’t show any awareness of emotional life. The love affairs, the gossip, the beefs that are going on, the thrill of thinking that you can change the world. I was much more concerned with that.
And as I worked on the book I quickly realized that I wasn’t just writing about the Bund. I was writing a history of the 20th century from the point of view of the defeated. The work was a form of necromancy. I would go to people’s graves and take dirt, and light candles in front of it and try to ask them if I could tell their story. At Ponary Forest, [near Vilna, where at least one prominent Bundist leader, a woman, was massacred by the Nazis in World War II and dumped into a mass pit] I went to the bottom with flowers and played Di Shvue [Yiddish for “The Oath,” the Bund’s anthem] on my phone.
What do you mainly hope that your book will accomplish?
I want leftists to know about something from our shared international history as leftists. I want young Jews to get to know their ancestors.
The Bund was anti-Zionist, of course, and many young American Jews are now also rejecting Zionism.
Yes. A lot of them were sold a bill of goods about their history, and when they reject that bill of goods, there’s a big hole in them. They don’t have any actual, positive Jewish history. They just have shit they’re ashamed of, because they realize [that Zionism] was actually a history of ethnic cleansing and apartheid. One of the things my book does is give them ancestors.
I’m an anti-Zionist. Whenever you have an ethnostate project, it always does unspeakable crimes. If Jewish institutions in America keep conflating Jews here with a state that is doing a livestreamed genocide and is now primarily known for the most heinous shit possible, it’s extremely dangerous for us Jews, as a small minority in America.
Some people internationally have been starting new Bund groups. What future do you see in that? And can you imagine Yiddish being resurrected as a secular Jewish language?
It’s hard to imagine huge numbers of people adopting Yiddish. But I think about a Jewish literary figure in the 1930s whom Isaac Deutscher quotes in his book The Non-Jewish Jew. He said that Yiddish was a dying language. But he didn’t mind, because Greek and Latin are dead languages, yet many people study them anyway, to access their linguistic treasures. And God bless everyone who’s doing leftist, anti-Zionist organizing and cultural work reclaiming our heritage! But is there a future for the Bund? The thing I’ve learned both from reading history and being a participant is, you never know what the spark is going to be. So you should always avoid making prognostications.
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Georgia political candidate apologizes for Passover ad that featured challah
(JTA) — When readers of the Atlanta Jewish Times opened their Passover edition last week, they saw something surprising: a fluffy challah.
The leavened bread, forbidden for Jews to consume during the holiday, appeared in an ad placed by Nathalie Kanani, a candidate for state Senate in a Metro Atlanta district.
“Have a blessed Passover,” the ad said, over an image of a challah draped in an Israeli flag alongside two towering candles. “Wishing you a Passover rich in divine love and blessings.”
The ad quickly drew ridicule online, particularly after Greg Bluestein, a Jewish Atlanta Journal-Constitution reporter, tweeted about it on Saturday, writing, “It’s the thought that counts, I guess.”
That night, Kanani issued an apology, calling the inclusion of challah in the ad “an oversight that should not have happened” and saying that her campaign was instituting new processes to prevent similar snafus in the future.
“My intent was to honor our Jewish neighbors and friends. We are all human, and even with the best intentions, honest mistakes can happen,” she wrote. “I believe in meeting those moments with grace and using them to bring people of different cultures together, not tear them apart.”
Kanani added, “While this content was created by a consultant working with my campaign, I take full responsibility for everything shared in my name. We are implementing stronger review processes to ensure this does not happen again. As always, my campaign stands for inclusion, respect, and bringing all people together.”
The incident is also spurring potential reforms at the Atlanta Jewish Times. “The ad should not have passed proofing checks,” Michael Morris, the newspaper’s owner and publisher, wrote in an email to the Jewish Telegraphic Agency on Sunday.
Kanani’s apology earned the Democrat dozens of supportive comments on Facebook — as well as constructive criticism that highlighted the complexity of Jewish American identity.
“We all make mistakes and learn from the[m],” wrote one man. “If you want to honor your Jewish neighbors, however, you might also want to rethink using a foreign flag. While many (though not all) of us, myself included, feel close ties to Israel (if not its government and policies), American Jews are Americans, not foreigners.”
Another woman offered an opposing take. “If you want to reach out to the Jewish community then you need to hire a Jewish consultant for Jewish content. Not only was the picture a big gaffe that you are undoubtable being mocked relentlessly for, but the wording sounds Christian,” she wrote. “But I do appreciate the Israeli flag.”
Kanani’s ad is not the first Passover bread to ignite a social media firestorm: The sight of leavened bread at Christian seders, which have surged in recent years, has generated sharp criticism in the past.
Unlike the Christian seders, which are widely denounced as appropriative, Kanini’s ad also elicited appreciation at a time when antisemitism is making many American Jews feel insecure.
“Unpopular opinion: we shouldn’t dunk on non-Jews who are trying to be nice to Jews,” tweeted David Greenfield, the head of a Jewish anti-poverty organization in New York City.
Kanani is a former prosecutor who is running in the May primary against Kevin Abel, who says his values are rooted in his identity as a South Africa-born Jew whose grandfather escaped Nazi Germany. Abel has chaired the American Jewish Committee’s local antisemitism task force.
Esther Panitch, a Jewish member of the Georgia House, urged her followers to back Abel when criticizing Kanani’s ad.
“Bless her heart, someone put challah in a Passover ad. This candidate wants to be my senator,” she tweeted on Saturday. “As the only Jewish member of the Georgia General Assembly, I am available for holiday consults — or you could just consider a candidate who knows the difference, whose ad is just a few pages after this one.”
After Kanani’s apology, Panitch said she had heard from Kanani’s campaign.
“I appreciate Nathalie Kanani’s campaign reaching out and taking responsibility for the challah-in-a-Passover-ad mix-up,” she wrote on Facebook. “Mistakes happen. What matters is how you respond, and she responded with grace. This is how we build understanding across communities. My door is always open for holiday consults. 
“
This article originally appeared on JTA.org.
The post Georgia political candidate apologizes for Passover ad that featured challah appeared first on The Forward.
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4 killed in Haifa strike as Trump issues ‘you’ll be living in Hell’ ultimatum to Tehran
(JTA) — Four people — including a couple in their 80s — were killed when an Iranian missile crashed into their home in Haifa on Sunday, in the latest direct strike in the month-old U.S.-Israeli war with Iran.
The missile was not intercepted because it had broken off from a larger munition, determined Israeli authorities, who said the people killed were not in their building’s bomb shelter at the time of the strike.
The strike brings the civilian death toll in Israel to 18 as uncertainty reigns about the future of the war, with U.S. President Donald Trump threatening multiple times over the weekend to pummel Iran imminently if it does not reopen the Strait of Hormuz to oil shipping imminently.
“Tuesday will be Power Plant Day, and Bridge Day, all wrapped up in one, in Iran. There will be nothing like it!!!” Trump wrote on Truth Social early Sunday. “Open the F–kin’ Strait, you crazy bastards, or you’ll be living in Hell – JUST WATCH! Praise be to Allah. President DONALD J. TRUMP.”
Iran offered no indication that it would meet Trump’s deadline, which comes as the president has extended previous deadlines for action by Tehran. A top Iranian official said the regime would respond “crushingly and extensively” to further attacks on civilian targets, including power plants and bridges. And a spokesman for the foreign ministry responded to questions about a reported framework for a ceasefire by saying, “Negotiations are in no way compatible with ultimatums, crimes, or threats of war crimes.”
The sparring comes after a dramatic weekend in the war. U.S. forces rescued an airman whose plane had been shot down during a commando raid in rural Iran, while Israel said it had killed the intelligence chief of the Islamic Republic Revolutionary Guards during a strike on an office building in Tehran.
This article originally appeared on JTA.org.
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