If you speak to anyone who's read Banana Fish, one of the first things they'd likely mention is the violence. As a crime thriller that follows a teenage gang leader in New York City, both the manga and the anime are violent from the get-go. The story never goes an episode or volume without threats with guns and knives, kidnapping, or murder. But amongst all the violence there's one thing you won't see in their entirety: the instances of the sexual assault. Spoilers ahead for Banana Fish, manga by Akimi Yoshida and anime by studio MAPPA, and warning for mentions of sexual assault. Trauma, especially of sexual assault, is a central theme to Banana Fish, where showing the devastating effects of power and powerlessness is integral to the story. The main character Ash Lynx was victimized as a child, taken from the streets by Corsican mafia boss Dino Golzine, and forced into child prostitution before the story begins. And during Banana Fish while Ash is a teenager, he is assaulted in prison and later by a mercenary hired by Dino. But with the exception of a moment showing the start of the assault by the mercenary, each scene of such an attack cuts away and forces our eyes to an entirely different scene instead of showing the assault.
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We know an attack has happened because we see the aftermath, but we don't see it occur. If it seems that an assault is about to happen, the scene is likely to turn into a fight instead of sexual assault. Banana Fish is not shy about being violent, but compared to other media that shows all instances of violence, including assault, Banana Fish is much more sensitive to its framing of subject matter. It is aware that it is not only important to be aware of the content itself, but how the content is presented. By showing the graphic details of violence of other sorts in the story, but removing the sexual assault, Banana Fish establishes that murder is commonplace in this world. They show that murder is possible so long as you have a weapon and the resolve to use it-not that you should-but that it is often the only way to survive when in a kill or be killed situation. But sexual assault is different; it is used as a tool for intimidation and exploitation against the less powerful, while keeping the victim alive. While murder is an attempt to end a person's life, often due to a seemingly inescapable cycle of violence-and occasionally to damage the life of that person's loved ones-sexual assault is meant to damage the person's psyche, their resolve, their confidence, and their sense of security and safety in their own world and in their own life.
This is different from the sexual assault in the story.
Sexual assault is never an act of defense as murder can be. It is always an act of aggression to oppress the less powerful. While murder and sexual assault are both terrible and criminal, Banana Fish shows that while murder is something that is sometimes necessary for survival in a dark underworld, sexual assault is not. Sexual assault is never necessary for survival, so in Banana Fish, it is never necessary to show it. Compare this to the torture we see. While torture also shows the powerful exploiting the less powerful, what we see is necessary for the story to move forward. We see the titular mind-control drug administered to a character, Shorter, against his will. We see the drug in action as it overrides his ability to reason, and then we see the devastating effects of what happens to those who are powerless against the powerful: death and grief. This is different from the sexual assault in the story. Sexual assault is understood while this fictional drug and its effects are not, so it is necessary to show the incident, as readers would be confused without it. Other media that shows violence, including acts of sexual assault, can leave the viewer with the feeling that it was extraneous and unnecessary. Banana Fish proves that it is possible to establish a dark tone and explore dark, and even disturbing subject matter, without necessarily showing the act of the traumatic incident.
Showing the instance of assault can actually lessen the emotional weight for the reader.
Leaving the depiction of the act absent does not leave you feeling that you've missed anything from Banana Fish. You know what has occurred without needing to see it happen. You don't need to see it in order to understand that it was traumatic, painful, damaging, or upsetting. The absence of the assault depiction moves the focus of the narrative from the act-which often becomes a plot point that can feel exploitative on principle-to the effects on the victim. By focusing on the act itself, media can give the impression that once a traumatic event happens, it is over. But Banana Fish shows that the lingering effects of the trauma force the event to continue by remaining present in a survivor's daily life. Banana Fish allows the cycle of violence to lead the narrative, provides visual cues of physical evidence, but most importantly focuses on the deep emotional impact trauma and assault leave on a survivor. While media is meant to allow us into the deepest part of a character's mind and experience, Banana Fish respects and humanizes its main character by allowing Ash a realistic level of privacy. This means we earn our connection to the character, and earn the reveal of his pain the way a friend would, rather than intruding in a way that feels exploitative. Showing the instance of assault can actually lessen the emotional weight for the reader. Seeing the assault can make it seem just as equal in power to everything else in the story. Removing access to something makes it more powerful and gives more weight, so that when we do learn about it, and we see the emotional ramifications, it hits us deeply.
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To achieve this, Banana Fish prevents us from seeing too deeply into Ash's psyche until he is personally ready to reveal it. While the first few episodes and volumes of the manga are packed with action and filled with violence of murder and threats, we only get glimpses of the emotional impact this is having on Ash. It is only once the other main character, Eiji-and by extent, the reader-has earned Ash's trust that Ash is ready to speak about his pain and we see the true effects of the trauma Ash has experienced. One of the most heartbreaking moments of Ash's trauma comes very late in the story. After we, and Eiji, have learned everything that has happened to him, Ash is forced into several situations that push him past his breaking point. During a conversation with Dino, his abuser who refuses to let Ash be free, Ash's stress and traumas take their toll on him and he breaks down into hysterical laughter. Witnessing this, not the trauma itself, is what allows the reader to understand the true impact of trauma on a survivor. We are only allowed to see this part of Ash after we have earned the right to, and it is so painful that it is difficult to observe. Until then, we see Ash adopt an "act now, panic later" coping mechanism. When he is in a dangerous situation he protects himself however he can, even if he must kill to survive, or else to wait in frustration for a chance to escape. It is only later that he feels the effects: depression, self-repulsion, nightmares, trouble sleeping, and a hesitation to reach out to those who might support him. While Banana Fish can be an emotional and disturbing ride, it is impactful and deeply moving. The characters are real and relatable, especially in the handling of trauma. No media is perfect, but Banana Fish's depiction of trauma will forever inform the standard by which I hold media.
He was yellow-skinned and had ears originally.
This list describes characters from the anime and manga series Doraemon. Also listed are their original NTV voice actors (1973), followed by their TV Asahi voice actors (1979-2005; 2005-present). Part of the 22nd century characters are listed in The Doraemons. Each main character represents a primary school student archetype. Nobita appears in every episode of the anime, while Doraemon appears in most episodes, sometimes being substituted (for medical checkup or on leave) by his sister, Dorami. Note: In some translations of Doraemon, the names of these characters are different from the original names. 2.9 Nobisuke Nobi Jr. Albert in the Cinar dub of the series, is the title character and co-protagonist of the series. He is a cat-like robot from the future. He was yellow-skinned and had ears originally. However, his ears were accidentally eaten by a robot mouse. It left him heartbroken and caused his skin to turn blue. People often mistake him for a raccoon dog. He is sent back in time by Sewashi (Nobita's Great-great-grandson) to aid Nobita. Doraemon possesses a 4-dimensional pocket from which he can acquire various kinds of futuristic tools, gadgets, and playthings from a future department store.
His favorite food is Dorayaki.
He also has the tendency to panic during emergencies, characterized by him frantically trying to pull out a very much-needed tool from his pocket, only to produce a huge assortment of household items and unwanted gadgets. Still, Doraemon is very friendly and intelligent, not to mention long-suffering because of Nobita's antics. Since Sewashi sent Doraemon to the past, Doraemon has been living as the unofficial fourth member of Nobita's family and acts like a second son to Nobita's parents, since despite being a robot, he requires basic needs for a person, such as eating, and also sleeps in the closet of Nobita's bedroom. He also fears mice greatly (due to a robot mouse having eaten his ears), even go crazy about it and pull out devastating gadgets, and most of the times, Nobita saves Doraemon in such situations. Although he has no fingers in most media, he can hold things because of the suction cups in his hands. His favorite food is Dorayaki. He has also been shown to date with normal female cat. He is the elder brother of Dorami.
Nobita Nobi (野比, Nobi Nobita, English dub: Sidney in the Cinar dub, Specky in the Speedy dub, and Noby Nobi in the Bang Zoom! dub) is the co-protagonist of the series. He wears glasses, a red or yellow polo shirt with a white collar, and blue or black shorts and white socks and light blue shoes. Although he's not good at sports, he's good at shooting. He is usually accompanied by Doraemon, who functions as his caretaker. Although he's not good at sports, he's good at shooting and has been reflected in the movies many time. He's also good at string figure which sometime considered a girls' game. Son of Tamako and Nobisuke Nobi. Future father of Nobisuke (his son). Future husband or boyfriend of Shizuka and great-great-grandfather of Sewashi. Taurus), nicknamed Shizuka-chan (しずかちゃん) is a smart, kind and pretty girl. She is often represented by the color pink, and is seen wearing a pink shirt and skirt.
39;s gadgets like the Anywhere Door (Doko Demo Doa in Japanese).
The word 'Shizuka (しずか)' means 'Quiet'. She is Nobita's best friend. She does not shun Nobita due to his failing grades, lazy disposition or constant failures. In fact, she often tries to encourage him to do better, though she usually fails to convince him. Shizuka likes to take a bath several times a day; however, a running gag in the series is that she is sometimes interrupted by a sudden appearance of Nobita (sometimes Doraemon, Gian, or Suneo) usually due to misuse of Doraemon's gadgets like the Anywhere Door (Doko Demo Doa in Japanese). Shizuka's skirt is also frequently seen getting flipped, either by Nobita misusing Doraemon's gadgets, or by the wind. Scenes in which her underwear is seen, or she is seen bathing, have been removed from the dubbed versions, especially in India, Europe, the United States and the United Kingdom. Her true passions are sweet potatoes, which she would rather keep to herself out of the knowledge of others, and the violin, in which her playing is just as horrendous as Gian's singing. She is also known for taking piano lessons unwillingly due to her mother's wishes (as she loves violin more), which is sometimes a reason for declining to hang out with friends (but she plays piano better than violin). Shizuka is an animal lover and keeps two pets at home: a dog, who is saved from succumbing to illness by Nobita and Doraemon in one story; and a canary which runs away on multiple occasions and causing Shizuka and Nobita to run around the city chasing her down.
She sometimes fansies some handsome idols on TV. Besides Nobita, Shizuka is also close to her classmate and popular student Dekisugi. Though they consider each other only as friends. Gemini), named Buster in the Cinar dub and Bob in the Speedy dub, usually known by the nickname "Gian" (「ジャイアン」, "Jaian", English: Big G) is a strong and quick-tempered local bully. He also frequently steals other children's stuff (especially Nobita's and Suneo's) under the pretext of "borrowing" them, unless the toy is damaged. He is known for his awful singing voice, though he considers himself a great singer. To prove this, Gian sometimes "invites" others to attend his concerts, under the threat of beatings. His singing is so horrible that, once, Nobita and Doraemon try to mute it in a silent world, his writings of the song lyrics in a board end up having the same effect as when they hear them. Though his voice is terrible in one of the episodes it was shown that a girl liked his singing. In some films, his singing is enhanced to become an effective weapon (as in 'Nobita's Great Adventure in the South Seas'). In some episodes when his voice is recorded and he hears it, he instantly denies it being his voice and threatens to beat up the person who his songs in a very bad way (which is an irony).