Gender Representation and Stereotypes in Anime

Hypersexualization of women is defined as an excessive emphasis on sexual characteristics and behavior, especially in contexts where it is not necessary for the story. It is often displayed through character role, design, and visual shots – choices that are key factors in the perpetuation of sexism in fictional media and real life.

How did the hypersexualization of women become so prevalent? Throughout Japan’s cultural history, Confucian values have had a large impact on determining the role of women in society. Originally from China, Confucianism emphasizes the subordination of women to men and their duty to the home and family. In fact, outside of the family, women had little to no place in society (Rosenlee). These values, however, are not exclusive to East Asia. The idea that women are less than men has penetrated not only Japan but also most of the world. Thus, many forms of media are created centered around the male gaze. For these reasons, the exploitation of women for sexual desires continues to this day. 

In many Shonen anime, female side characters have very minor roles and are seemingly created only to support the male protagonist’s story as a damsel in distress. They are usually involved in a romantic relationship with the male protagonist, some examples being Lucy from Fairy Tail, Hinata from Naruto, or Misa from Death Note. These characters are usually sidelined by male characters and often find themselves in scenarios where they are powerless and must be rescued. The damsel in distress trope “emerge[s] as a confirmation of the patriarchal ‘construct’ that women cannot save themselves as they are weak and helpless” (Idris). In addition, the designs of these characters highlight their physical attractiveness through their body shape and clothing choices while also emphasizing their tame, caring, and naive personalities. While these characteristics are not inherently bad, their constant recurrences in anime reinforce patriarchal and Confucian beliefs that women are submissive, have little autonomy, and are only present to support the men around them. Their more than “ideal” body figure paired with a general lack of story significance also lends to the sexist belief that women exist for sexual pleasure. 

Figure 1

While these characteristics are not inherently bad, their constant recurrences in anime reinforce patriarchal and Confucian beliefs that women are submissive, have little autonomy, and are only present to support the men around them. Their more than “ideal” body figure paired with a general lack of story significance also lends to the sexist belief that women exist for sexual pleasure. 

The “strong and sexy” archetype of female anime characters is also criticized for similar reasons. These women are often older, more mature, and more physically developed. Examples include Tsunade from Naruto, Yoruichi from Bleach, and Esdeath from Akame ga Kill!

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Despite these characters’ powerful capabilities, they are often overlooked and reduced to their looks and body figures by both fans and the anime itself. On the contrary, strong and mature male characters are fan-favorites usually due to their backstory and accomplishments rather than their body. This contrast mirrors inequalities between women and men and the emphasis on women’s bodily appearance in real life. Furthermore, the portrayal of mature women in anime is a reflection of societal beauty standards, which are difficult to realistically achieve for most women and may negatively impact women’s expectations about body image.

Female characters in anime are also often subject to inappropriate clothing choices that do not seem to make sense for their line of work. Examples include Erza Scarlet from Fairy Tail, Ikumi Mito from Food Wars, and Tamaki Kotatsu from Fire Force.

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Tamaki’s fire-fighting gear is rather unrealistic, with her upper torso almost completely bare and hip cutouts in her pants. In Fire Force, Tamaki is shown to have a strong resistance to heat, hence a possible explanation for her exposed skin. However, there is still no clear advantage to her choice of clothes, suggesting that this design is mainly motivated by fanservice: “the appearances of female characters for sexual enticement through unrealistic, enhanced body types and revealing outfits that are not necessary in depicting their personality, role, or abilities within the storyline” (El-Assaad). Tamaki’s fire-resistant abilities may justify her skimpy outfit, but it is simply that – a justification, not a necessity. Again, the emphasis on a female character’s body reduces her to mere eye candy. Female character designs with impractical clothing may also imply that women must look physically attractive in any scenario, which is not the case for most real-world professions. This misrepresentation reinforces the idea that a woman’s value lies in her appearance rather than her character and capabilities.

Another common trope that contributes to the hypersexualization of women in anime does not depict women, but rather men; the pervert character is often used for comedic effect at the expense of female characters. Classic examples of this include Master Roshi from the Dragon Ball series, Jiraiya from Naruto, and Brooks from One Piece. This archetype is very prevalent in the Shonen series, but it can also be found in isekai and harem anime. 

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Above is a scene from Dragon Ball showing Master Roshi groping Bulma while she is unaware. Although meant as a joke, this depiction tells the primarily children and teen audience of Dragon Ball that sexually harassing women is okay and is even funny. Furthermore, the pervert trope itself leads to many inappropriate fanservice shots catering to the male gaze, such as panty shots, which may make viewers uncomfortable. Despite its insignificance to the plot, the pervert archetype still continues to be found in modern anime today, normalizing acts of sexual harassment.

The sexualization of female characters is not exclusive to action or dark anime genres; it can also be found in the magical girl genre. While magical girl anime was originally intended for young girls, by the 1980s, animation studios like Toei Animation began to incorporate themes of sexuality and sexually provocative visuals to invite male and older female audiences (Saito). One defining feature in magical girl anime is the transformation sequence of the magical girls. In Magic, Shojo, and Metamorphosis, Saito argues that “the screen duration for the transformation sequence tends to be unnaturally long,” and paired with many close up shots of the nude body, “openly sell[s] fetishism of the metamorphosing body” (Saito). Traditional magical girl anime also strongly reinforces gender norms through tight bodices, short skirts, high heels, ribbons, and more. 

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Although these choices exacerbate the issue of hypersexualization, especially in anime for younger audiences, not all instances of female characters who exhibit their sexuality are harmful. In fact, exploring gender and sexuality in magical girl anime “propelled young women's internal imagination of personal romance and psychological growth” (Saito). Ultimately, whether a character’s sexualized depiction is harmful or not is subjective to the viewer and may have both empowering and adverse effects. By utilizing the sexualization of female characters, the magical girl anime genre creates a nuanced portrayal of women that simultaneously uplifts and fetishizes female sexuality.

Hypersexualization of female characters in anime can be observed in multiple genres through character design, behavior, and animation sequences. Having occasional fanservice is not inherently harmful, but excessive amounts of sexualized designs and shots found in many anime ultimately reduce female characters’ autonomy and plot significance, enforcing the traditional belief that women are less than men. On the other hand, embracing sexuality can be a source of empowerment for some women, depending on personal and cultural views. Representation matters especially in a time when anime is growing more and more popular. By reshaping the way female characters are portrayed, anime is able to challenge outdated gender stereotypes and promote more equitable perspectives on women’s roles in society.

‌Bibliography

El-Assaad, Meriam. “The Hyper Sexualization of Women in Anime.” Medium, 16 Apr. 2024, medium.com/@elasmeriam/the-hyper-sexualization-of-women-in-anime-ed6b064f12be.

Idris, Nazua. “Damsel in Shining Armor” “Knight in Distress” – Role Reversal of Mythical Gender Archetypes in Shakespearean Comedies.” Ruminations: The Andrean Journal of Literature, Volume 2, Pp. 138-146, 2012, www.academia.edu/98606297/Damsel_in_Shining_Armor_Knight_in_Distress_Role_Reversal_of_Mythical_Gender_Archetypes_in_Shakespearean_Comedies. Accessed 1 May 2025.

‌Rosenlee, Li-Hsiang. “Gender in Confucian Philosophy.” Stanford Encyclopedia of Philosophy, Metaphysics Research Lab, Stanford University, 27 Feb. 2023, plato.stanford.edu/entries/confucian-gender/.

Saito, Kumiko. “Magic, Shōjo, and Metamorphosis: Magical Girl Anime and the Challenges of Changing Gender Identities in Japanese Society.” The Journal of Asian Studies, vol. 73, no. 1, 2 Jan. 2014, pp. 143–164, https://doi.org/10.1017/s0021911813001708.