Images: Mappa, Madhouse, Toho Animation Studio/OLM, TMS Entertainment, David Production, Bones
What does it mean to be a woman in a shounen series? Let’s explore the state of female representation in recent anime titles.
Anime has historically been hit and miss when it comes to good female representation. In recent memory, we’ve often seen girls and women relegated into secondary roles which rid them of agency and personality, ending in tasteless fanservice that not all fans enjoy.
But those misses have been overshadowed by a recent wave of better female representation. Anime titles like Frieren: Beyond Journey’s End, Dandadan, and The Apothecary Diaries have put forward female characters who are compelling, complex, and incredibly well-written. The presentation of these characters marks a change in how anime typically handles female characters: there’s more to girls than what’s been established through stereotypes.
When women are objectified through their bodies
Shounen, and subsequently seinen, has not had a great reputation when it comes to female representation. Although it has gotten better in recent years, stereotypical portrayals of women were rampant in popular titles, and it all boils down to a certain problematic trope that shounen just can’t seem to let go of: oversexualisation and fanservice.
Titles like Fire Force, Rent-a-Girlfriend, and My Hero Academia struggle with this, weighing down what could have been compelling female characters and stumping their relevance to the story. They do this by only focusing on showcasing their bodies, or pointing out how the protagonist or other male characters lust for them.
One of the most disappointing characters to have come out of an abuse of this trope is Tamaki Kotatsu from Fire Force, who at first, excited fans with her fiery debut. Truth be told, Tamaki is written as a strong-willed, courageous character who’s unshaken by the threat of enemies looking to pick a fight with her. But as the story progressed, viewers found it incredibly problematic that Tamaki was downsized from what could have been an outstanding role to be the brunt of oversexualised jokes and fanservice. Furthermore, she's written to be narratively weaker than her male counterparts.
Don’t get me started with Rent-a-Girlfriend, either. It's the popular opinion that this anime has a terrible story, veiled as a wholesome romance to unsuspecting first-time viewers. Every single female character introduced in this show is purely presented in the view of the male gaze; each and every one is oversexualised or stereotyped to the point that it doesn’t even translate into a raunchy comedy anymore.
And then there’s My Hero Academia. Although the entirety of the story is good at showing protagonist Izuku Midoriya’s journey into becoming a hero, this anime, to me, tops the list of ‘what not to do to a female character’, because of the resident pervert Minoru Mineta. Do I even need to list down each crime he has committed against his female classmates?
But besides the blight that is Mineta, MHA also struggles with keeping previously-introduced female characters relevant to the plot. Momo Yaoyorozu, who was first characterised as a level-headed, responsible character for example, is pushed to the side and depicted in later seasons in a weaker manner compared to her other fellow male heroes. Her hero costume is also a point of contention: a skimpy, revealing outfit doesn’t go over well when the character is canonically a minor.
What happens when female characters don’t get this atrocious treatment?
When female characters are given the same depth, complexity, and respect as their male counterparts, the result is stronger storytelling across the board.
Arguably, one of the best-written female characters in recent years has to be Frieren from Frieren: Beyond Journey’s End, a 2024 shounen anime that dominated with its compelling story, beautiful animation, and expertly-written characters. Frieren’s character is often highlighted with showcases of strength of will and bravery, and the show makes it a point to hone in on the fact that Frieren’s amazing capabilities are not overshadowed by the male characters around her, or how they perceive her as a person with a feminine body. Frieren’s magical prowess is at the forefront of this anime, and she didn’t need to pander to the male gaze to establish herself.
Similar to Frieren, Momo Ayase from smash-hit 2024 anime Dandadan is written as a headstrong teenager with amazing psychic powers. Sure, the anime has moments where there is a bit of fanservice, but it never focuses on Momo’s body or diminishes her character in any way. In fact, the show makes it a point to avoid servicing fans with oversexualised shots of any of the female characters. The scenes where Momo’s body is visible are not meant for viewers to marvel at the spectacle of her being exposed, but at the dilemma she is facing, be it against the Serponians, or at the last shot of the season where she was trapped in the hot springs with menacing men.
And then there’s Mao Mao from The Apothecary Diaries, whose quick wit and amazing deduction skills star in the anime. Similar to Momo’s treatment in Dandadan, Mao Mao does not suffer from unnecessary hypersexualisation/fanservice; instead, we are entreated to enjoy Mao Mao’s story through her eyes, highlighting her amazing capabilities as both an apothecary and quasi-detective. She navigates the perilous world of the imperial court with razor-sharp observations and a fearless attitude, proving time and time again that she can outthink even the most powerful figures around her.
These three characters don’t need to bare their skin or be the subject of lewd jokes to shine, and the way they’re portrayed is a massive factor into why the titles they come from have been touted as the best anime of 2024.
Women deserve better representation
The fight for better representation has gained momentum in recent years, driven by a growing number of female anime fans who are more vocal than ever about their dissatisfaction with how shounen anime continues to mishandle its women characters. Social media platforms, online forums, and review sites have become battlegrounds where fans critique outdated tropes, call out excessive fanservice, and demand more nuanced portrayals.
As anime’s global audience expands, so does the expectation for female characters to be more than just sidekicks, love interests, or objects of desire; women are capable of being more than what the male gaze dictates them to be. This shift in trends has become the fuel for the anime industry to rethink its choices on how female characters are portrayed, and it’s better late than never.
The successes of Frieren, Dandadan, and The Apothecary Diaries is a testament to how female characters can be written as more than just objects of desire. When anime focuses on crafting compelling stories rather than forcing in fanservice, it elevates not just the characters but the entire narrative. Frieren, Momo, and Mao Mao prove that strength, intelligence, and depth of character will always outshine cheap thrills–and the anime industry would do well to take notes.
