#in comparison with Lupin who's characterization is really good

[artist-issues]

I want you all to know that secretly, in my heart, when Harry said "Maybe she fell in love with Sirius" after thinking about Tonks' mysterious four-legged Patronus, I thought to myself "be better if she fell in love with Lupin."

I mean, poor Lupin. Lost all his best friends, one of them a betraying murderer. Then, right after he ALSO loses Dumbledore, I learn

Oh, Tonks IS in love with him! LUCKY GUESS! There IS somebody left alive who can care about Lupin in a close personal way!

HURRAY. Where's all the fanart?

[raptured-night]

Hello, I have two questions this time. Why do you think we can’t really compare Death Eaters to Nazis? Why can’t we really compare purism with racism? Oh and do you think Death Eaters are more like nowadays’ terrorists or not?

So, it's no secret that I have drawn attention to the issue of Death Eaters being treated as literal stand-ins for Nazis or blood purism as a literal example of racism. Importantly, there is a difference between acknowledging the ways that Death Eaters or blood purity might work as semi-functional allegories for the Nazis and their ideology, white supremacy, racism, etc., and treating fictional representations of invented prejudices as if they were comparable or on par with non-fictional Nazi ideology, white supremacy, or systemic racism.

An article for Medium makes this point very well:

Silent resisters and ‘I don’t really care about politics’ people deserve our contempt. But what makes those who filter life through fiction and historical revisionism worse is that they are performing a soggy simulacrum of political engagement.

As a woman of colour watching, all I can do here is amplify the call to step away from your bookshelf. Let go of The Ring. My humanity exists independently of whether I am good or bad, and regardless of where the invented-fictional-not-real Sorting Hat puts me.

Realise that people are in danger right now, with real world actions needed in response, and not just because you want to live out your dreams of being Katniss Everdeen.

The problem with discussing Harry Potter’s fictional examples of prejudice as if they were literal or completely comparable with real-life prejudices is that it does lead to an oversimplification of the reality of prejudice (whether white supremacy, racism, homophobia, transphobia --looking at you Jo-- or otherwise) and the very real people who experience these prejudices every day. The fantasy of being Harry Potter up against Umbridge or Voldemort in a YA series where the line between the good and bad guys is almost clearly denoted by the narrator is a far cry from the reality of what activism is or what living under oppression is like for many marginalized people. 

I would argue that this is also a leading reason why the “social justice” (yes, in many cases I believe that deserves to be enclosed in dubious quotations) discourse in Harry Potter fandom trends more towards performative than it does sincere (one need only look at the defense posts for Rowling in response to real marginalized groups criticizing her for things ranging from her offensive representation of Asian people, Indigenous and Native peoples, or her failures in representing the lgbtq+ community particularly in light of her coming out as an open TERF and they can get an idea of how those “I’m an intersectional feminist/social justice ally and that’s why I read HP!” fans quickly shift gears to throw the bulk of their allyship behind Rowling instead) because when you spend all of your time debating fictional prejudices it’s much easier to detach oneself from the reality of non-fictional prejudice and its impact on real people.

Fiction has no stakes. There is a beginning, middle, and end. In Rowling’s fictional world, Harry Potter ends with Harry and “the side of light” the victor over her allegorical representation of evil and he gets his happily-ever-after in a world we are led to believe is at peace and made a better place. In the real world, decades after the fall of Hitler, there are still Nazis and white supremacists who believe in the glory of an Aryan/pure-white race and are responsible for acts of violence towards marginalized groups; even after the fall of the Confederacy in the U.S. we are still debating the removal of monuments erected in their honor (and the honor of former slave owners and colonialists like Christopher Columbus) while the nation continues mass protests over the systemic police brutality Black people and other people of color have long faced (not to mention the fact the KKK are still allowed to gather while the FBI conspired to destroy the Black Panther Party and discredit them as a dangerous extremist organization).

As a professor in literature, I’ve often argued that fiction can be a reflection of reality and vice versa. Indeed, it can be a subversive tool for social change and resistance (e.g. Harlem Renaissance) or be abused for the purposes of propaganda and misrepresentation (e.g. Jim Crow era racism in cartoons). So, I am not underscoring the influencing power of fiction but I do believe it is important that when attempting to apply fictional representations to real-world issues we do so with a certain awareness of the limitations of fiction. As I have already observed, there is an absence of real-world stakes for fiction. Fictional stories operate under a narrative structure that clearly delineates the course they will take, which is not the case for real life. In addition, the author’s own limitations can greatly affect the way their fiction may reflect certain non-fictional issues. Notably, a close reading of Harry Potter does reveal the way Rowling’s own transphobic prejudices influenced her writing, not least in the character of Rita Skeeter (but arguably even in her failed allegory for werewolves, which are supposed to reflect HIV prejudices, but she essentially presented us with two examples of werewolves that are either openly predatory towards children or accidentally predatory because they canonically can’t control themselves when their bodies undergo “transformations” that make them more dangerous and no surprise her most predatory example, Fenrir Greyback, seems to have embraced his transformation entirely versus Lupin who could be said to suffer more from body dysmorphia/shame). 

Ultimately, fiction is often a reflection of our non-fictional reality but it is not always an exact reflection. It can be a simplification of a more complex reality; a funhouse mirror that distorts that reality entirely, or the mirror might be a bit cracked or smudged and only reflecting a partial image. Because fiction does have its limits (as do authors of fiction), writers have certain story-telling conventions on hand through which they can examine certain aspects of reality through a more vague fictional lens, such as metaphor, symbolism, and allegory. Thus, the Death Eaters can function on an allegorical level without being problematic where they cannot when we treat them as literal comparisons to Nazis or white supremacist groups (particularly when we show a greater capacity for empathy and outrage over Rowling’s fictional prejudice, to the extent we’ll willingly censor fictional slurs like Mudblood, than we do real-world examples of racism and racial microaggressions). As an allegory, Voldemort and his Death Eaters can stand in for quite a few examples of extremism and prejudice that provoke readers to reflect more on the issue of how prejudice is developed and how extremist hate-groups and organizations may be able to rise and gain traction. Likewise, blood prejudice looked at as a fictional allegory goes a lot further than when we treat it as a literal comparison to racism, wherein it becomes a lot more problematic. 

I’ve discussed this before at length, along with others, and I will share some of those posts to give a better idea of some of the issues that arise when we try to argue that Voldemort was a literal comparison to Hitler, the Death Eaters were literal comparisons to Nazi, or that blood purity is a literal comparison to racism.

On the issue of blood prejudice as racism and Death Eaters as Nazis, per @idealistic-realism00.

On the issue of blood prejudice as racism, my own thoughts.

On the issue of Death Eaters and literal Nazi comparisons, per @deathdaydungeon and myself. 

Finally, as I have already argued, the extent to which fiction can function as a reflection of non-fictional realities can be limited by the author’s own perceptions. In the above links, you will note that I and others have critiqued Rowling’s portrayal of prejudice quite thoroughly and identified many of the flaws inherent in her representations of what prejudice looks like in a real-world context. The very binary (i.e. good/bad, right/wrong, dark/light) way that she presents prejudice and the fact that her villains are always clearly delineated and more broadly rejected by the larger society undermines any idea of a realistic representation of prejudice as systemic (we could make a case for an effort being made but as her narrative fails to ever properly address prejudice as systemic in any sort of conclusive way when taken along with her epilogue one can argue her representation of systemic prejudice and its impact fell far short of the mark, intended or otherwise). In addition to that, the two most notable protagonists that are part of her marginalized class (i.e. Muggle-born) are two comfortably middle-class girls, one of whom is clearly meant to be white (i.e. Lily) and the other who is most widely associated with the white actress (Emma Watson) who played her for over a decade before Rowling even hinted to the possibility Hermione could also be read as Black due to the casting of Noma Dumezweni for Cursed Child.

Overall, Rowling is clearly heavily influenced by second-wave feminist thought (although I would personally characterize her as anti-feminist having read her recent “essay,” and I use the term loosely as it was primarily a polemic of TERF propaganda, defending her transphobia, and reexamined the Harry Potter series and her gender dichotomy in light of her thoughts on “womanhood”) and as far as we are willing to call her a feminist, she is a white feminist. As a result, the representation of prejudice in Harry Potter is a distorted reflection of reality through the lens of a white feminist whose own understanding of prejudice is limited. Others, such as @somuchanxietysolittletime and @ankkaneito have done well to point out inconsistencies with Rowling’s intended allegories and the way the Harry Potter series overall can be read as a colonialist fantasy. So, for all of these reasons, I don’t think we should attempt to make literal comparisons between Rowling’s fictional examples of prejudice to non-fictional prejudice or hate groups. The Death Eaters and Voldemort are better examined as more of a catch-all allegory for prejudice when taken to it’s most extreme. Aicha Marhfour makes an important point in her article when she observes:

Trump isn’t himself, or even Hitler. He is Lord Voldemort. He is Darth Vader, or Dolores Umbridge — a role sometimes shared by Betsy DeVos or Tomi Lahren, depending on who you’re talking to. Obama is Dumbledore, and Bernie Sanders is Dobby the goddamn house elf. Republicans are Slytherins, Democrats are Gryffindors.

The cost of making these literal comparisons between Voldemort or the Death Eaters to other forms of extremism, perceived evil, or hate is that we impose a fictional concept over a non-fictional reality and unintentionally strip the individual or individuals perpetrating real acts of prejudice or oppression of some of their accountability. I can appreciate how such associations may help some people cope and for the readers of the intended age category of Harry Potter (i.e. YA readers) it might even be a decent primer to understanding real-world issues. However, there comes a point where we must resist the impulse to draw these comparisons and go deeper. Let Voldemort and the Death Eaters exist as allegories but I think it is important we all listen to what many fans of color, Jewish fans, lgbtq+ fans, etc. are saying and stop trying to fit a square peg into a round hole by treating these fictional characters and their fictional prejudices as if they were just as real, just as impactful, and just as deserving of our empathy and outrage as the very real people who are living daily with very real prejudices --because they’re not equal and they shouldn’t be. 

[recentanimenews]

Crunchyroll Remembers Their Favorite Lupin the 3rd Stories

On April 11, Kazuhiko Kato—better known to his fans by the name Monkey Punch—passed away. Kato created many amazing works in his time, but the best known and most beloved of all was easily Lupin the 3rd. For many of us here at Crunchyroll, it was one of our earliest anime, if not an actual gateway series.

  Today, we here at Crunchyroll News and Features are taking a look back at our favorite films and episodes, as well as what made us love this crazy series. We'd love to hear from the rest of you, too: tell us in the comments what makes you love the Lupin Gang and what story you loved most. If you're new to the series, we hope this encourages you to check out one of the standards of anime.

  Thanks to everyone on the team who took part and shared their memories!

    Paul: The true genius of Lupin III is that the characters are archetypal, and so they can map onto whatever story the writers and directors want to tell, from slapstick nonsense to hard-boiled, noir-style thrillers filled with murder and gratuitous nudity. Lupin, like Batman, means something different to everyone, and there is so much more to the character than simply “red jacket”, “blue jacket”, “green jacket”, etc.

  My first experience with Lupin III was The Castle of Cagliostro, and I've got a lot of time for The Woman Called Fujiko Mine and Jigen's Gravestone, but I'm sure everyone and their cousin has some kind words to spare for those entries, so I'll devote a few phrases to the weirder animated entries: The Fuma Conspiracy, The Mystery of Mamo, and The Legend of the Gold of Babylon.

  Although I own two different DVD releases of The Fuma Conspiracy, I remember almost nothing about the film itself except that it involves Goemon getting engaged, the entire film is basically an extended (and exquisitely animated) chase scene, and the AnimEigo release had to fudge Lupin's name as “Rupan” because of the lawsuit with Maurice Leblanc's estate.

  The Mystery of Mamo has clones, a giant space brain, ridiculous cameos and product placement that got scrubbed from the Geneon release, like 6 different English dubs, and perhaps the single greatest visual rhyme in anime cinema history, which juxtaposes Lupin teasing Fujiko's nipple with world leaders pushing the Big Red Button for a nuclear missile strike.

  The Legend of the Gold of Babylon is so goddamned weird that is makes The Mystery of Mamo seem “two bedroom one bath white picket fence in the suburbs” mundane by comparison. I haven't managed to sit through the entire film in one viewing, but it's co-directed by Seijun Suzuki and it's arguably the most divisive work in the entire Lupin III franchise, so it merits a mention.

  But none of these wild and woolly adventures would exist without the original manga from Kazuhiko Katou, aka “Monkey Punch”, and while straight manga Lupin with no chaser is way too raw for me, it's the primordial essence from which all other interpretations of the characters spring, and the world is a smaller, meaner, and pettier place without Lupin's creator in it.

    Carlos: I’ve always loved the phantom thief genre in any medium. I loved it as a Super Sentai, adored it when Persona 5, and of course, couldn’t get enough of it in the eclectic series of Lupin the 3rd.

  Kazuhiko Katou’s legacy has truly been immortalized in Lupin’s escapades, being one of the earliest examples of the phantom thief trend in Japan and modernizing Arsene Lupin’s adventures for generations of fans to enjoy. The anime world has lost an old time visionary, but he left us with his timeless classic that I’ve loved for so long, and will enjoy for years to come. Whenever I sing “Memory of Smile,” I’ll raise a glass to Monkey Punch.

    Noelle: My first introduction to the series was Castle of Cagliostro, having also grown up on Ghibli, and something about that was just so fun and enjoyable.

  The Detective Conan crossovers are also a bit of lighthearted fun- Lupin exists everywhere!

  All Lupin works embody the phantom thief sub-genre, but instead of being something heavy and ominous, they are free-spirited. Lupin, Jigen, and Goemon all have chips on their shoulders, but that doesn’t stop them from causing trouble and generally having a good time while doing so. Every installment is witty, clever, and I’m always eager to see how the gang will come out on top.

  The truest Lupin installment that greatly stuck with me is of course, The Woman Called Fujiko Mine, which ranks as one of my favorite anime series to this day. It doesn’t focus on Lupin himself but Fujiko, and her adventures of self-discovery and living her own life. This one was a far more serious series, especially compared to the far more carefree Lupin series that I’d been exposed to, but it worked.

  I’d usually watch Lupin whenever I wanted something that I know I’d enjoy, but also makes me feel good. There aren’t many series that manage to do both.

Rest in peace, Monkey Punch.

    Nicole: It’s been hard to reconcile with the fact that Monkey Punch is gone... My first encounter with Lupin came from Castle of Cagliostro, where I immediately fell in love with the Miyazaki directed version of Lupin as a dashing thief and the misfits that followed him around. I remember hearing from a lot of people when I first wanted to expand that “Oh that isn’t really Lupin, that’s a sanitized version of him,” and over the years I kind of find myself disagreeing with that more and more. Lupin is a lot of things to a lot of different people, and I think Monkey Punch really created a unique and amazing set of characters that various directors then worked with and left their mark on. I still find myself rewatching Cagliostro whenever I get a chance, and I find it an amazing ‘first anime’ movie to show to people who have never really seen much anime at all before.

  The Lupin TV series are filled with so many amazing episodes, and when I originally drafted up a top ten list last year, I ended up starting to rewatch the whole thing again. Even though some adaptations of Lupin are a bit better than others, I would say that anyone who likes the idea of a master thief and his madcap capers will find a lot to love almost anywhere in this series, and I hope that maybe in this sad circumstance of Monkey Punch’s passing, people will get curious enough to investigate the series and fall in love with it too.

  Some of my favorite Lupin memories and moments, aside from Cagliostro, have to be those dealing with Zenigata. As much as I love the Lupin crew, there’s just something charming and attractive about Zenigata’s character that always made him so much fun to watch. As I mentioned in my list, there are a lot of interpretations of Zenigata, but I always prefer the hard-boiled, semi-noir detective version of him that episodes like “Until the Full Moon Passes” or “The Woman the Old Man Fell in Love With” depict. I think the reason I always liked Zenigata so much is that he’s really important for Lupin to play off of, and without Zenigata, I don’t think you’d really enjoy Lupin as much as a character! The moments where the two of them really face off, or even work together, are some of the most magical moments in the series overall; on that note, I really recommend curious viewers to check out “The End of Lupin III”, another great pick.

  Finally, I’ve come to appreciate the Miyazaki influence in Lupin more over the years, and realize that without Monkey Punch, we probably wouldn’t have Studio Ghibli today; those who are curious to see where Miyazaki got some of his original directing starts might want to check out his Lupin episodes, and of those, “Farewell, my Beloved Lupin” is amazing (and keen Miyazaki fans might see a lot of similar designs here to later movies!) and of course the amazing Miyazaki take on Fujiko in “Wings of Death: Albatross”! I’m sure there’s so much more I could talk about or recommend, but I’ll just say that Lupin, in all of his incarnations, is worth it, with something for everyone, from various movies and tv shows to spin-offs like the amazing Woman Called Fujiko Mine, I hope that creators will keep honoring the vision and memory of Monkey Punch and deliver us more amazing Lupin content in the future.

    Joseph: Like many people, my first exposure to Lupin as a character was in Miyazaki's Castle of Cagliostro feature, which I still think is his best movie as a director. That characterization of Lupin, I would go on to learn, is just one of many, and I would soon see just how different his origins were when Tokyopop started publishing Monkey Punch’s original Lupin manga in English. Looking back, it's probably not the best representation overall, but it's still interesting to see how the character has evolved since those rough early days.

  The next time I caught him in action was back when Part 2 would air on Adult Swim—*checks paper* almost SIXTEEN YEARS ago?—and I've kept up with him and the rest of the gang irregularly over the years. My favorite thing about the franchise is just how flexible it is in general. While the broad strokes of each character may remain along the same lines depending on the jacket du jour, Lupin offers up a distinct canvas on which artists can apply their own unique sensibilities. I especially appreciate stuff like 2012’s The Woman Called Fujiko Mine, which is about as decadently artsy as Lupin gets.

    Kara: I spent two semesters in my college's anime club my freshman year being generally okay with anime. It was Castle of Cagliostro that got me all the way in. I remember when I finished watching it, I turned to my friend and said, "I'm actually kind of sad there's no more movies with these characters in them." I had no idea how ridiculously wrong I was.

  I loved earlier specials and series, but what I'm loving now is the flexibility the characters have after 50 years. We had The Woman Called Fujiko Mine, which was downright surreal but ultimately rewarding when the other shoe drops. The new movies have been fantastic as they bring in a largely new cast. And for me, Part 5 was some of the most satisfying anime I've ever watched, Lupin or otherwise. It felt so in the spirit of Kato-sensei's original work, while still creating new riffs on it.

  For me, anything Lupin is my go-to on a bad day. I know it's going to be funny, I know the "good guys" (whether or not Zenigata sees it that way) will win the day, and I know there's a lot of heart in every single version. It's hard to believe the gang's creator has passed on, but I'm also glad he got to see his work beloved by the world, and that it will continue strong for new fans.

  Series available on Crunchyroll:

>> Part 1

>> Part 2

>> Part 3

>> Part 4

>> Part 5

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Kara Dennison is a writer, editor, and interviewer with bylines at VRV, We Are Cult, Fanbyte, and many more. She is also the co-founder of Altrix Books and co-creator of the OEL light novel series Owl's Flower. Kara blogs at karadennison.com and tweets @RubyCosmos.

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