Ask John: Why Are Anime Heroes so Often Underdogs?

Question:
Why do most anime fights seem to be where the hero is naturally weaker than the villain, yet during the middle of the fight, the hero learns some new ability or technique that helps him completely defeat his opponent? Rurouni Kenshin is the only anime where the hero was consistently stronger than or equal to his opponent, while shows like Inuyasha, Bleach, Dragon Ball and so on, had the hero weaker than the villain and then after the hero is turned into a bloody mess, he learns that his has to actually punch the enemy in order to win.

Answer:
There’s no single explanation for the common tendency for anime heroes to suddenly discover some untapped potential within themselves. Rather, there are a few intertwined considerations that contribute to this commonality. Furthermore, while the underdog hero is common, he’s not universal. The reasons behind heroes, particularly shonen hero underdog characters who manage to overcome seemingly impossible odds involve the target audience for these types of stories, the Japanese philosophy of youth, and the Japanese philosophy of benevolence.

As noted, typically shonen adventure stories are filled with ordinary or weak characters that challenge and eventually overcome obstacles or opponents, usually through pain and effort. There are actually two distinct methods by which these underdog characters typically prevail. Usually, in fantasy action anime like Dragon Ball, Naruto, and One Piece, it’s a sense of determination, sheer willpower that gives the hero the strength to continue fighting and even strengthen or bring forth untapped abilities. The Gunbuster OVA series summarized this approach as “Guts and hard work.” Sport and hobby anime, for example Inazuma Eleven, Kaiji, and Hikaru no Go, take a slightly different approach. Through difficultly and experience the hero utilizes intellect to analyze and unravel the opponent’s strategies and abilities. That understanding allows the hero to develop a winning strategy. And, of course, there are anime like Kinniku Banzuke: Kongou-kun no Bouken that merge the two approaches. Understanding the opponent’s techniques merely gives the hero the determination to try harder. All of this is ultimately meant to encourage young viewers. The Japanese philosophy of youth can be summarized in one word, excel. Manga and anime that depict heroes who succeed because of hard work, courage, and determination exemplify the Japanese philosophy of idealized youthful spirit, and encourage the ordinary Japanese children that love these stories to emulate their heroes by never giving up and having self-confidence in their ability to succeed even through difficulties and seeming insurmountable odds.

However, it should be recognized that not all anime heroes are underdogs. As noted, Himura Kenshin is typically evenly matched with his opponents. Kenshiro of Hokuto no Ken is practically always evenly matched, if not stronger than his opponents. Although not a shonen manga hero, Golgo 13 is still a superior force whom we watch not to see make a comeback, but rather to see exert his masterful skills. Even toward the end of the Dragon Ball anime the stronger heroes stopped fighting weaker opponents. Perhaps most noteably, in the 2008 Dragon Ball: Ossu! Kaette Kita Son Goku to Nakama-tachi short movie Goku and Vegeta hesitate to fight because they recognize that they’re stronger than their opponents. In accordance with Japanese martial philosophy, the hero isn’t a bully. The hero gives his opponent a reasonable chance to withdraw. The hero unleashes his full strength only as a last resort, when attempts to give the opponent an opportunity to stop and withdraw have entirely expired. This sense of restraint, even at the cost of personal injury, is very prevalent in anime, including recent examples like Umineko ni Naku Koro Ni episode 24, in which George refuses to use his full strength against an opponent he deems weaker than himself, and the recent second Denpa Teki na Kanojo, in which Juu refuses to defend himself in a fight in order to show his sincerity.

Americans like to see heroes that are powerful, unassailable, and dominant. We’re drawn to the imagery of idealized strength and perfection. The Japanese approach eschews the goal for the process. Anime heroes are less idealized idols and more like ordinary people that viewers themselves can relate to. Americans like to see heroes who have attained greatness. Japanese heroes represent the process and effort necessary to achieve greatness. I’m not implying that one approach is better than the other, nor that either literary perspective is exclusively cultural. I’m only pointing out why American pop culture is largely dominated by strong and dominating heroes while anime is largely typified by heroes that frequently suffer near defeat before charging back with renewed vigor, determination, and, in literary climax, new techniques or hidden power.