[Spoilers for great works of art ahead]
When one thinks of the great works of western art and literary canon, their mind conjures up images of certain figures. People such as Chaucer and his Canterbury Tales, Charles Dickens and the sad tale of Oliver Twist or Herman Mellville and his great tome of Nantucket whaling lore. To be sure, these great men of the West have all had their impact upon the path our nation, and civilization’s history since time immemorial, but people are often far too likely to give them credit they do not truly deserve. Many misguided reactionary thinkers like to imagine these literary “geniuses” as being akin to Atlas, holding up the weight of the Western World with their way for words against the seemingly unending tide of JJ Abrams Star Wars Remakes, Funko pops and defunct loot crates. Surely, the reactionary Christian thinker suggests, that the works of CS Lewis could once again instill a Christian ethic into our now immoral and godless society beset by STDs and cheap estrogen filled food. Surely, the Pagan suggests, that the ancient eddas and stories from Pre-Christian Europe could reinstall some long decayed volkisch spirit within the souls of European men to save us from what seems to be certain doom. Perhaps with enough posts and podcasts about criticism of modern popular culture, the famous Saxon could finally awaken from his near death stupor.
These people are all dead wrong.
Through basic deductive reasoning, one can clearly infer that all these works of fiction have done nothing to give us the deliverance from this hellscape known as modern Earth that we so clearly yearn for. Has reciting some poetic line from Beowulf reduced the number of government dependents that form a powerful voting bloc for our enemies, of course not! Has talking for the umpteenth time about how traditional and reactionary Tolkien’s “Lord of the Rings” is saved anybody from suffering through Amazon remakes inflicted with the curse of diversity? Of course it has done nothing more than place salt on the wounds of our dying society, reminding us of what we could have achieved if not for the subversive social movements of the 19th and 20th centuries.
But do not commit yourself to buying a noose so that your mother can find you hanging in the bathroom just yet, for there is one final mechanism to ensure that our civilization will survive! This one final thing, this one last bastion of the faustian Western spirit, is the ONLY thing that can prevent the sure and total destruction of our civilization under the crushing weight of modernity and the egalitarian myths that strangle us. I think all of my dear readers can infer with great clarity what I am referring to. No, I’m not talking about “direct action”, nor am I talking about creating some Kaczynski-Esque separate society that would be given the Ruby Ridge treatment anyway.
I am of course talking about Anime, the nectar from heaven.
A great deal of intellectual energy has been wasted on various means to salvage our dying civilization: caring about our “optics”; not caring about our “optics”; radical change from outside the system; and so on. The fact that these strategies have borne naught but the most sour of fruits, mainly infighting, demonstrates that they are meaningless. Anime, on the other hand, both satiates those that are concerned with the approval of the mainstream and those that desire the radical action that only this unique form of animation can imbue within the hearts and souls of the last bulwark of our civilization.
PRESERVING THE FAMILY UNIT
The first, and perhaps one of the most core vectors of attack against the soul of our nation is through the deconstruction of the family unit and the division of labor between the sexes that occurs within it. To be sure, we are no stranger to quibbling over the efficacy of the nuclear family vs the extended family, but it is held in agreement by most reactionary thinkers that either familial system is better than what is now in place. Our society is beset by a litany of issues that undermine what should be our most treasured harbor from the vagaries of life. The problems of single motherhood, divorce, loose sexual morality, a general lack of intimacy and a malicious cynicism of filial piety are all at play. Although the desire for people to pair bond and form families is largely biological, it goes without saying that cultural program plays a large role in maleducating people about their natural inclinations.
There is no place where this is made more clear than with the dialectic between the Western mass media’s conception of the family vs Anime’s conception of the family. From the faux-halcyon days of sitcoms like “I love Lucy”, to the flagrant filth of Norman Lear’s “All in the Family” to the unspeakable horrors of today, a trend is clear. First and foremost in this trend is to deconstruct the position of the father figure as perhaps the most authoritative member of the household. Instead, he is depicted as boorish at best, and a malicious buffoon at worst who is barely able to tie his own shoes let alone run a family. After this, one can see that the wife and children of the household are no less safe as they are used simply as vessels for the egalitarian struggle of that moment in time. The winds of change have so buffeted these pillars of society, that they essentially seek to exist only for a crude facsimile of an ill-defined “universal family” taking their place.
No matter who or what produces the entertainment the premise remains the same: using what ought to be the bedrock for society itself as a springboard for normal well adjusted westerners to internalize whatever leftist elements want at that particular point in history. What is particularly insidious is the fact that so much of the subversive content flies under the radar of even the discerning viewer, the propaganda burrowing itself into one’s mind like a tapeworm. The famous, or perhaps infamous, Archie Bunker is perhaps the most famous example of this.
In anime, the script is flipped in the boldest way possible. Not only are intact homogenous families seen as normative, they are often the end goal or prize for a hero at the end of his journey. Our protagonist, long after finishing his quest or struggle through whatever isekai’d nightmare or highschool he is in, can finally settle down with his cherished love interest to create a family and usher in a new generation of heroes. This has been a consistent sore spot for the western fujoshis and homoeroticism enthusiasts. As their minds have been bombarded by at least fifty years of critical theory and social deconstruction, the mere depiction of a heteronormative ending to their much-loved anime can send them into a furor that can only be assuaged by the journalist class that caused their rage in the first place.
If you doubt me, you need look no farther than even the most popular and lowest common denominator anime of all: formulaic Shonen and Seinen anime. These genres, which mainly appeal to the young male demographic, have had several major hits in the west, in particular animes such as “Tokyo Ghoul”, “Naruto” and “Dragon Ball Z”. Even in these anime which are essentially the visual equivalent of gutter trash, the male protagonist always desires a relationship with a woman so that they can wed and bare children for the continuation of their shared lineage. In certain instances, the truly wholesome messages in these anime can become so self evident that the soulless urbanites of the western tomb-cities must commit themselves to outright slander.
One particular instance of this is the anger that erupted over the aforementioned anime “Tokyo Ghoul”. In this particular work, the main character Ken Kaneki yearns for the affection of Touka Kirishima. In the typical anime fashion, Kaneki marries Kirishima and they are revealed to have a family at the end of their saga. The mere fact that a male protagonist could yearn after a woman for want of a family was so scandalous to western egalitarians that they decided to stage a revolt. Nearly the entire leftist coalition in pop culture elected to condemn this development as bare-faced “homophobia”, demanding that the manga be taken off the shelves and burned in more extreme cases. If you doubt me, here is a link.
The truly pro-natal and volkisch sentiments of anime can make themselves even clearer in works devoted entirely to the purpose of romance and pair bonding. Although many of the great works of this genre are admittedly degenerate, they still pass the muster of not being propaganda fit for malcontents like Theodore Adorno or Betty Friedan. Although I could name a myriad of examples, it is best to stick to two classics: Amagami SS and Clannad.
The reputation of Clannad precedes it with nearly every utterance. It is arguably the most masterful romantic anime ever forged by the hands of the learned Nihonjin masters. This anime and visual novel series, whose namesake is mistakenly interpreted as the gaelic word for family, centers around the story of a young man and the eventual relationship that blooms with one of his peers, Nagisa Furukawa.
Through their initial relationship as high school classmates, their love soon blossoms until they become devoted partners and eventually marry. The protagonist, Tomoya Okazaki, soon finds himself as the happy (for a time anyway) father of a young daughter and husband to his dearly beloved wife. Unlike most western media, the role of family is presented in a positive light. Despite the heart-wrenching tragedy that soon besets Tomoya and his young family, the love that a father has for his wife and children is able to leave a lasting impression upon the viewer. This depiction of filial loyalty as something that ultimately improves one’s life rather than being an albatross around their neck is particularly astounding given the current state of western popular culture.
As a brief aside, the European etymology of the anime’s title is mirrored by the creator’s interest in European lore throughout the periphery of the series. After the original visual novel was released, the original soundtrack that accompanied the game was officially referred to as “Mabinogi”. This title in turn references the Mabinogion, a collection of some of the earliest examples of written storytelling and folkore from the British isles. That such an artist could pay homage to European folklore in a positive way while the same stories are deconstructed maliciously by the contemporary British media speaks volumes in itself.
The next anime at hand to analyze is Amagami SS and despite its name, it has nothing to do with a certain paramilitary group from mid 20th century central Europe. Like Clannad, this anime was also a romance anime derived from a visual novel, albeit with a unique gimmick. Unlike most anime, Amagami SS operates under the premise that each story arc of the show exists in a sort of alternate universe. In multiple of these branching timelines, the standard male protagonist’s relationship with the female love interest extends ultimately towards marriage. In both cases where this occurs, the familial relationship presented to the viewer is one that our elite tastemakers would find to be galling. In both cases, the male is in the authoritative position, while his female love interest is sequestered into what is a decidedly traditional position within the home.
Perhaps the most striking part of this show is the love interest Sae Nakata. Being a shy and demure young woman, she is nearly the exact opposite of the archetypal woman promoted in most western media. While Sae is reserved and retiring in times of great distress, the caliber of woman represented in our own television often follows stereotypical male behavior in a manner that both demeans the position of women and men within society. To make things even more surprising for the western viewer, the capstone for her story arc is one of domestic wedded bliss, not some ephemeral “liberation” from norms too many deem to be antiquated. We find our young family at the end of this story as one ready to rear not one, but two children for their family and nation. This unashamedly pro-natal message in a medium that is decried as being childish at best is certainly surprising, but Sae is emblematic of a larger archetype within Japanese anime.
Indeed, the concept of the traditional and devoted housewife that Sae partially embodies is such a strong aspect and appeal of anime that it has become embodied in a codified trope. This character archetype is of course known to us as the “Yamato Nadeshiko”, which directly refers to the idealized Japanese conception of a traditional woman. Although they do not follow the western conceptions of masculinity and femininity to an exact degree, it is striking to the author that such a character archetype is allowed to exist without constant and malicious deconstruction.
INEGALITARIANISM AND ANTI-UNIVERSALISM
From the 14th Amendment to the subversive countercultural movements of the 1960s to the unmasked degeneracy of the modern day, Western civilization, its people and its inheritance have been under attack. Although many in the impotent conservative movement will malign this fact, only true reactionaries will state the core value that undergirds the humiliating degradation of their own society. The Paul Ryans and Thomas Sowells of the world will point to some nebulous and overbearing state that seeks to destroy us. The Dennis Prager and Stephen Crowder acolytes will lay the finger of suspicion at the concept of inherent group identities themselves. The startingly stupid on the right, such as Jonah Goldberg and D’Souza, will leave people thunderstruck, alleging that the forces of liberalism are actually in thrall to the whims of fascists and a century old conspiracy of Dixiecrats. There are few among us brave enough to name the core error made by our enemies, for naming the root of the problem will incite the wrath of our sworn enemies, and earn us betrayal by those thought to be our close friends and allies.
As I am sure you have already guessed, I am course talking about the notion of equality itself. The belief in the mythical blank slate of humanity has been anything but smooth, as it quickly became a millstone to undermine seemingly every facet of Western civilization itself down to sad little nubs. There is little within the contemporary landscape of western culture that even broaches the subject of equality not being all that it is purported to be. Indeed, to even intimate at the idea that we are not created equal, if only by accident, can cause immense grief among the chattering classes that define popular tastes and trends. There is only one form of visual media that bucks this trend with a vengeance, and that is of course our beloved anime.
In this most treasured of artistic mediums, not only is the idea of a common humanity not taken for granted, it is routinely lampooned or taken to task for how absurd a notion it truly is! Only in anime, can one find messages of true elitism, of support for the true natural aristocracy that through divine right or natural law have license to rule over their domains as they see fit.
A prime example of this opposition to equality can be seen in the heartwarming (or heart wrenching) anime “Sora No Woto”. Set in a world seemingly beset by constant war, the anime principally follows the perspective of a young girl by the name of Kanata Sorami. In typical anime fashion, Sorami seemingly meanders from plot point to plot point in such a way to facilitate as much moe being generated for the viewer as possible. Although I could go into great detail describing the various archetypes of each character in the show, it is more important to focus on the character of Kanata and her relationship with her senior officer, Rio Kazumiya.
Seeing as how this anime was principally centered around music in the form of bugling, the relationship between these two characters is akin to the bond between a teacher and their subordinate. A key change from the standard western fare is the emphasis placed on training a skill in contrast with inherent talent. It is the standard belief in the egalitarian west that one’s performance in the arts or practical skills is purely a result of one’s environment. Western liberals, obviously upset by the clear deficit in great cultural contributions between different civilizational groups, clamored to the idea that one’s skill and ability to do great things was not innate but was instead a learned behavior. In this way, the traitorous subversives could assuage their deeply repressed fear of man’s naturally unequal state through seemingly well intentioned attempts at uplifting the weak.
In typical anime fashion, Sora no Woto does away with these egalitarian pretensions. In contrast to a western work, the musical skill of our precious Kanata stems not from some desire for hard work instilled in her by a catlady apparatchik, but by her innate and eminently biological skill of perfect pitch. In this way, her musical skill is not so much the triumph of practice (although the series is replete with that) molding a blank slate, but of a person gradually coming to grips with the natural skills that set them apart from the lumpen and tone deaf mass of humanity that lies beneath her.
Another aspect of the egalitarian experiment that is deconstructed by Sora No Woto is the oft-repeated lament that monarchs are inept and have no rightful ability to rule over their people. As mentioned before, Kanata possesses a relationship with her superior Rio like that of a student before a mentor. It is later revealed in this anime that Rio is not only master to Kanata, but she is indeed master to the whole country of Helvetia. This comes through a titanic revelation near the end of the series, wherein Rio reveals that she is of noble birth and assents to her position as a monarch of her nation. Although there was ample opportunity for a malicious deconstruction of monarchy throughout the show, as Rio originally ran from her royal blood to live the life of a common person, the creators decided to forego such foolish and subversive temptations. Instead, our last minute hero finally gives in to her sense of noblesse oblige, and uses her position as monarch to bring peace between the two warring states of Helvetia and the Roman Empire.
It is particularly interesting to note the subtle but omnipresent themes of tradition and skepticism for modernity that exist throughout this transcendent work of anime. At first glance, it seems as though the nation of Helvetia is simply a near carbon copy of a mixture of Mediterranean and central European aesthetics fused together in a mid 20th century setting. The roads are of cobblestone, there are public open air markets instead of department stores, and the church actively administers to the public in an organic way. None of this is deconstructed, nor is it presented as a museum piece for us to scoff at. That such a portrayal of pre-information age life could be presented as wholesome is surprising enough on its own, but things get more interesting once certain parts of the anime’s backdrop can be discerned. Those more astute viewers of anime such as this could notice certain things amiss, perhaps the Shide strips seen outside the ostensibly catholic church, or the decrepit superweapon that lies in the Helvetian army’s motor pool.
In a twist that was telegraphed to the viewer seemingly lifetimes in advance, it is revealed throughout the show that picturesque civilization of Helvetia is actually a retrogressed form of a highly advanced Japanese society whose technology dwarfed even our own. As any Oswald Spengler or Evola fan worth his salt would have predicted, modernity soon consumed the decadent progenitors of Helvetia, bathing them in a fire of war so total that the Earth was knocked back seemingly centuries in time to a more “primitive” era. Once again, the creators of such an anime could have taken ample opportunity to lament such a loss of superficial trinkets like cellular phones and octopedal mechanized combat robots, but they elected not to. Instead, they decided to make a paean for a lost age as both Helvetia and the Roman empire are revealed to be slowly dying as Earth is ruined by the excesses of sinful modernity, the landscape before the nations slowly crumbling to a post industrial desert that can bear no life for even the smallest fauna.
Another sacred cow that only anime is brave enough to tackle is the sacred Western concept of democracy. The arguments against such a foolish system are legion, and it goes without saying that democracy almost always descends into a plutocratic oligarchy that defies the original premises that the supposedly good system was founded upon. One need only look to the sham occupation regime known as the “United States Federal Government” to know that I am right in this assessment.
Anime is replete with examples of legitimate monarchs presiding over their citizenry in a way that is both even handed and strict, this stands in stark contrast to western works. It goes without saying that the likes of George R.R. Martin and Terry Pratchett seek to deconstruct this system of governance that is among the most noble in the world by making nobility seemingly fit only for those who are both simultaneously buffoonish and struck with a penchant for needless evil.
A particular example that strikes the viewer as being explicitly reactionary in its themes stems from the anime known as Kino’s Journey. In this anime, centered around the eponymous traveller known as Kino, one sees various vignettes that seek to dispense their own form of wisdom to Kino and to the viewer in a more indirect manner. The more surface level elements of the right are quick to point out that Kino is an avid gun enthusiast, and this is indeed a credit to the show and its creator “Keichi Sigsawa” (The name is a reference to Sig Sauer), but there is a deeper reactionary theme embedded within a very particular episode.
To provide some backdrop, Kino’s Journey takes place in a world that is essentially the inverse of the plutocrats’ vision of a globalized society. The largest level of organization has seemingly never rised above that of a city state, and there is great variation to be had among the various micro nations that populate this strange and wonderful world. Within a few days walking distance, one might be confronted by primitive nomadic tribals only to then come across a glittering cityscape where work is simply a thing of the past and humans have become atrophied husks of what they once were. But on one of Kino’s trademark jaunts she stumbles across a society in near complete ruin.
While picking through the desiccated corpse of this once proud city-state, Kino comes to realize the source of its ruination. One of the few surviving members recounts to her a tale of usurpation by the mob against their legitimate monarchs. Of course, this degenerate mob was bidden by the false promises that only democracy could provide to the wretched of the Earth. Then, in a manner that would make all but ardent bolsheviks blush, the democrats proceeded to use the power of the majority to vote for the execution of their betters in some Robespierre-esque reign of terror.
In this way, their envy at their own betters blinded them to the fact that the masses were unfit to rule and their society soon degraded into an egalitarian purity spiral. Each person accused the other of some unearned privilege of status in the hierarchy, and eventually some ginned up enough support to undermine their supposed “equals” through the same democratic process. By the time our Kino arrived, the entire settlement was bare save for one solitary human. Then in an almost comedic twist that lampoons democracy itself, Kino and her companion use their majority vote to make the last advocate for democracy indirectly commmit suicide. With him dead, the farce of this form of government finally comes to an end within the anime.
There are a myriad of other examples of cogent critiques of democracy within anime, but for the sake of brevity I believe it is only wise to touch upon a few of them briefly. A particular genre of anime where the more subversive aspects of democracy are dissected can be seen within the realm of science fiction. It is perhaps obligatory to mention this, but the famed anime “Legends of the Galactic Heroes” embodies this critique almost to a tee. This extremely long anime tells the story of the conflict between democracy and truly hierarchical governance using the backdrop of two great polities fighting in the stars. Of course, the conflict is between the aptly named Galactic empire, a vaguely Prussian Absolute Monarchy; and the Democratic Free Planets, a state whose political structure can be gleaned from the name alone.
From a western perspective, this anime is unique in that it does present egalitarian government as being axiomatically good. Indeed, the Free Planets Alliance’s Protagonist, Yang Wen-Li, is often beset by the corruption and ineptitude of his own government. This stands in direct contrast to the Empire’s Monarch, Reinhard von Lohengramm, a man who through innate skill rises to the throne. The anime also presents many not so subtle critiques of what could be interpreted as the modern day west. In stark contrast to western works such as Star Wars, the imperial monarch and his retinue are humanized instead of being presented as capricious buffoons as so many works of fiction now seem to do.
An Unlikely Alliance, Anime and the 2nd Amendment
Despite the nauseating enlightenment pretensions of the constitution and the Founding Fathers, they created one shining gem that permeates throughout the American identity even to this day. It is the 2nd Amendment and the mythical idea of the European settler willing to defend his homestead with force of arms that is one of the few great parts of the American mythos that still exists. It is then perhaps a great irony that the medium most willing to make an unapologetic defense of firearms is married to a country with some of the strictest gun laws in any 1st world country. Perhaps it is due to the paucity of private arms since the sword hunts of the Edo era, but the Japanese seem to place some healthy respect for guns and their users into their anime in often very explicit ways. This stands in direct contrast to our own country, where despite its proud history of firearms ownership cultural tastemakers see fit to only make thinly veiled anti-white screeds about semi-automatic rifles.
Again we must return to Kino’s journey to find evidence for this claim, albeit the 2017 remake. The episode “A Country Where People Can Kill Others” centers around a community where not only are firearms allowed for everybody, but the act of killing itself is technically legal. At first, the anime seems to juxtapose the seeming absurdity of the law with the generally peaceful nature of the town. It is brought up repeatedly that the town suffers little to no internal strife. The more astute viewer will clearly recognize what Keichi was intending: a community that acts as a very clear exemplar for the old adage that “An armed society is a polite society”.
Initially, the anime uses this unique town to demonstrate firearms for individual defense. A shopkeep explains very brusquely to Kino that the lever action rifle sitting on his shelf is not for defense against thieves so much as it is “for killing people”. He also remarks that thieves have never assaulted his shop before, allowing the viewer to make a rather obvious conclusion. But before the episode ends, a lone bandit appears before the town. His intention is to rob Kino by taking her arms and supplies under the threat of death. Kino, knowing the true nature of this community, simply allows the citizenry to kill the interloper before she does in a rather gruesome fashion. Nearly everyone in the town from near-geriatrics to children bands together with an implement of violence to kill this intruder to their community.
This example of firearms ownership not just for individual defense but community defense extends far beyond the defense many gun rights activists make in this country. Poisoned by libertarianism, they make the tautological argument that the only reason why one needs to own a firearm is to defend against the confiscation of said firearm. This fanciful notion belies the true meaning for civilian gun ownership: the last line of defense for a people and a community against radical changes or threats to their way of life. That a simple anime could understand this topic while few Americans even timidly speak of it speaks volumes in itself.
Another far more lighthearted example is found in the very, very niche anime known as “Upotte!!”. This anime, despite its more dubious moral elements, focuses upon one central premise. This anime literally humanizes firearms, presenting them as anime girls of various ages. All submachine guns attend elementary school, all assault rifles attend middle school, and battle rifles such as the FAL or M14 attend high school. The school focuses upon the exploits of the FN-FAL the somewhat obscure assault rifle variant of the famous FAL, a weapon most notable for various fights against communist militants throughout the 20th century.
This particular anime focuses a great deal on gun related humor and topics, although it traffics in routine slander of the M16 for seemingly no reason other than pure malice. In a reflection of the Cold War, the school the main characters attend reflects the myriad gun designs of the western backed powers, from the horrific L85 to the superlative SIG SG550.
It would be possible for me to write even more about this most important of topics, and perhaps I will in later installments. I think it is clear to see that deeply reactionary themes within anime both as a general medium and in its various works. I write this treatise not as something for the sake of amusement, but as a serious call to action. Many within the right have lamented the status of the culture, and our piecemeal attempts to make our own culture-jamming entertainment come off to most outside the right as stale propaganda. Why should we seek to make our own reactionary works of culture, when such a medium is already replete with them? The complete and total subversion of the West to leftist and neoliberal forces is almost at hand, and anime is our only hope left.