By John Q. Hosedrinker 
China’s military news agency has condemned popular anime series like Pokemon and Detective Conan, along with other cultural and sporting events, for allegedly promoting Japanese militarism. Recent controversies, including a Pokemon card game event at Tokyo’s Yasukuni Shrine and criticism of athlete and idol performances, have fueled these accusations. China asserts that these cultural mediums are being used to spread a distorted version of history among young people, potentially paving the way for a resurgence of Japanese militarist ideals.
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It’s truly something when we hear about China condemning popular anime like Pokémon and Detective Conan for allegedly spreading “Japanese militarism.” The very notion sounds almost comically absurd, as if someone’s taken a page from a satirical sketch and decided to implement it as policy. When you think about these franchises, what immediately comes to mind are colorful creatures, schoolyard mysteries, and tales of friendship and justice, not exactly the marching boots and battle cries of war.
The focus on Pokémon, in particular, seems to stem from a rather specific incident: a cancelled card game event at the Yasukuni Shrine. Now, the Yasukuni Shrine is a sensitive location, known for commemorating those who have died in war, including individuals considered war criminals by some. The concern here appears to be that hosting an event there, even a seemingly innocuous one like a Pokémon card game, could be perceived as an attempt to “sanewash” or normalize past aggressive actions by Japan. It’s a complex issue, but the leap from a card game to militaristic propaganda feels like a significant stretch for many observers.
Then there’s Detective Conan, the long-running anime about a brilliant young detective solving crimes. The idea that this series, which largely revolves around justice and peaceful resolution of conflicts through intellect, could be seen as promoting militarism is perplexing. It’s a show that champions deductive reasoning and ethical conduct, hardly the hallmarks of a military agenda. The disconnect between the content of these beloved series and the accusations leveled against them is what makes this situation so bewildering.
It’s as if some are looking at a fluffy Pikachu and seeing a nuclear-equipped battleship, or interpreting Conan’s relentless pursuit of truth as a clandestine military operation. This level of interpretation, bordering on paranoia, suggests a deeper cultural or political motivation behind the condemnations. It raises questions about how entertainment that is enjoyed globally, transcending national boundaries, can suddenly be re-framed as instruments of nationalistic ideology.
The situation brings to mind the infamous “Chinpokomon” episode of South Park, a satirical take on how foreign cultural products can be perceived and manipulated for political purposes. However, the current accusations feel like that satirical premise is being taken quite seriously, leading to a sense of disbelief for many who simply enjoy these shows. The question arises: how paranoid does one have to be to view something created for general entertainment, irrespective of nationality, as a form of cultural propaganda?
This intense scrutiny and condemnation can feel like a symptom of a broader issue, perhaps a culture of paranoia or an underlying inferiority complex. When something as universally innocent as Pokémon or Detective Conan is targeted, it suggests that the underlying concerns might be less about the anime itself and more about internal political dynamics or a deliberate effort to shape public opinion. It also raises the point that this approach to business with China, where companies are pressured to conform or face cancellation, is a well-established, albeit often criticized, practice.
One can’t help but observe the irony in China’s stance. While condemning Japanese anime for perceived militarism, China itself has been engaged in significant military posturing in its region, including daily incursions near Taiwan and support for Russia’s actions in Ukraine. This stark contrast leads many to question the sincerity of China’s condemnation and suggests a case of the pot calling the kettle black. The focus on children’s entertainment while more overt displays of military power are ongoing creates a confusing and contradictory narrative.
Furthermore, the argument is made that strong cultural exports like Pokémon and Detective Conan, which have a significant presence in China, actually pose a threat to the Chinese government’s ability to rally public sentiment against Japan. If the youth are deeply connected to Japanese culture through these beloved franchises, it might reduce their willingness to engage in military confrontation or nationalistic fervor directed at Japan. Therefore, targeting these popular media could be a strategic move to weaken this cultural influence and maintain greater control over public opinion.
The claim that these anime are spreading militarism feels like a convenient excuse to target popular Japanese cultural exports, potentially to harm Japan’s economic interests or to distract from internal issues. It’s a strategy that leverages past historical sensitivities for present political gain. The very fact that these condemnations have led to event cancellations, and still the criticism persists, highlights the complex and often challenging nature of navigating cultural and political landscapes, especially when dealing with nations that employ such tactics.
Ultimately, the condemnation of Pokémon and Detective Conan for spreading “Japanese militarism” appears to be a case of misplaced priorities and perhaps a politically motivated interpretation. While acknowledging the importance of historical context and the sensitivities surrounding past conflicts, the application of such severe accusations to beloved entertainment franchises seems disproportionate and counterproductive, leading many to question the underlying motivations and the overall sanity of the global discourse surrounding cultural exchange.