Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Tuomas Sibakov Master’s Thesis East Asian Studies Faculty of Humanities University of Helsinki November 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Faculty of Humanities East Asian Studies Opintosuunta – Studieinriktning – Study Track East Asian Studies Tekijä – Författare – Author Tuomas Valtteri Sibakov Työn nimi – Arbetets titel – Title Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Työn laji – Arbetets art – Level Aika – Datum – Month and Sivumäärä– Sidoantal – Number of pages Master’s Thesis year 83 November 2020 Tiivistelmä – Referat – Abstract In this work I examine how imōto-moe, a recent trend in Japanese animation and manga in which incestual connotations and relationships between brothers and sisters is shown, contributes to the sexualization of girls in the Japanese society. This is done by analysing four different series from 2010s, in which incest is a major theme. The analysis is done using visual analysis. The study concludes that although the series can show sexualization of drawn underage girls, reading the works as if they would posit either real or fictional little sisters as sexual targets. Instead, the analysis suggests that following the narrative, the works should be read as fictional underage girls expressing a pure feelings and sexuality, unspoiled by adult corruption. To understand moe, it is necessary to understand the history of Japanese animation. Much of the genres, themes and styles in manga and anime are due to Tezuka Osamu, the “god of manga” and “god of animation”. From the 1950s, Tezuka was influenced by Disney and other western animators at the time. His stories and themes had intellectual and philosophical depth that the western counterparts did not have. The works also touched themes that the western animation steered away from, including sexuality, which was not compartmentalized in a similar fashion in Japan as it was in the Western world. His works not only created new genres by themselves, but the constant combination by future generations created the thematic complexity that can be seen in manga and anime today. Tezuka also had a role in underage girl sexualization: his girl characters were an inspiration for the sexuality of little girls, both real and fictional, in the 70s. The western works of Vladimir Nabokov’s Lolita and Lewis Carroll’s Alice’s Adventures in Wonderland drew attention to the cuteness of little girls. In combination, sexualized versions of Tezuka’s characters were drawn, at first as a parody. In the 80s there was a boom of drawn girls in sexually compromised situations, or lolicon art. During the 80s, the focus shifted away from connotations to real girl imagery and drawn rape imagery towards less violent forms. In 1989, a dubious connection was drawn between otaku, fans of popular culture, including lolicon imagery, and a serial killer of small children. The moral panic that followed slowed the spread of lolicon in the 90s. Meanwhile in the 90s, an idea of moe began to form: if fictional little girls are not corrupted by adult sexuality, the girls cause feelings of affection in the viewer. The viewers are affected by moe via isolated, but recognizable tropes, such as cat ears and tail, a speech habit, or twin tails. A part of this research is to examine how well imōto-fits under the lolicon criteria, and under moe: the characters are sexualized: they are showing having sexual thoughts and expressing sexual activity. After the examination, I conclude that, at least in the works examined, imōto-moe fits under the latter category: the male partners are passive and follow the girl’s lead, the ages are very close, and many of the series emphasize the virtual aspect: to enjoy little sisters, they have to be two-dimensional, outside the laws of reality. Avainsanat – Nyckelord – Keywords Anime moe lolicon incest Japan sexualization family animation sister sex female girl representation animation shojo Säilytyspaikka – Förvaringställe – Where deposited Muita tietoja – Övriga uppgifter – Additional information 2 1. Table of Contents 1. Table of Contents ........................................................................................................................... 3 2. Introduction ................................................................................................................................... 5 2.1. Overview ................................................................................................................................ 5 2.2. Research problem................................................................................................................... 6 2.3. Research aims ......................................................................................................................... 7 2.4. Research question .................................................................................................................. 8 2.5. Research material ................................................................................................................... 9 3. Context ......................................................................................................................................... 10 3.1. Japanese family .................................................................................................................... 10 3.2. General history of Japanese anime and manga .................................................................... 12 3.3. Real girls and their depiction ................................................................................................ 17 3.4. Lolicon .................................................................................................................................. 19 3.5. Moe ...................................................................................................................................... 25 4. Theory .......................................................................................................................................... 33 4.1. Westermarck-effect: reverse sexual imprinting ................................................................... 33 4.2. Sexual morality and the law ................................................................................................. 36 4.3. Gender performativity and the production of the heterosexual matrix ............................... 39 4.4. Semiotics .............................................................................................................................. 40 5. Methodology ................................................................................................................................ 41 5.1. Visual analysis ....................................................................................................................... 41 6. Material ........................................................................................................................................ 42 6.1. Ore no Imōto ga Konna ni Kawaii Wake ga Nai (My Little Sister Can't Be This Cute, 2010) .. 42 6.2. Imōto sae Ireba Ii. (A Sister’s All You Need, 2017) ................................................................ 43 6.3. Yosuga no Sora (Sky of Connection, 2011) ............................................................................ 44 6.4. Kiss x Sis (2010)..................................................................................................................... 45 7. Analysis......................................................................................................................................... 45 7.1. Ore no Imouto wa Konna ni Kawaii Wake ga Nai ................................................................. 46 3 7.1.1. Narratives ..................................................................................................................... 46 7.1.2. Narrative distance ........................................................................................................ 46 7.1.3. Visuals ........................................................................................................................... 48 7.1.4. Settings ......................................................................................................................... 49 7.1.5. Characters..................................................................................................................... 50 7.1.6. Rhythm and sound ........................................................................................................ 52 7.2. Imōto sae Ireba Ii. ................................................................................................................. 52 7.2.1. Narratives ..................................................................................................................... 52 7.2.2. Narrative distance ........................................................................................................ 53 7.2.3. Scenes ........................................................................................................................... 54 7.2.4. Visuals ........................................................................................................................... 59 7.2.5. Settings ........................................................................................................................