Forgotten Realms: The Isekai Boom of the 90’s

There’s no denying it: isekai is the genre of the moment in Japanese nerd culture. The loanword identifying the genre literally means “different world”, and it features a protagonist from our own world suddenly finding themselves trapped in an alternate world, usually one dominated by Western fantasy tropes. The trend reached the US in the early 2010’s with Sword Art Online, with its protagonist Kirito trapped in an MMORPG. Isekai are generally adaptation of light novels, where they are so prominent that last summer, a short story contest banned entries featuring alternate worlds. Like most light novel anime, they’re usually aimed at young men already immersed in the genre, and their protagonists tend to have a degree of self-awareness about their situation.

Despite their recent surge of popularity, isekai series have been around for quite a while. Recently, I stumbled on an article that claimed that the genre barely existed until a 1983 children’s show called Manga Aesop Monogatari and the anime adaptation of Inuyasha, which began in the year 2000. This article is, to put it bluntly, dead wrong. One of the earliest examples of the genre is Crest of the Royal Family, a 1976 shoujo manga that is still running to this day. Inuyasha may have been a breakout hit, but isekai anime and manga thrived during the 90’s. US fans didn’t have a name for it at the time – we generally referred to it as “‘trapped in another world’ anime”. The main difference between isekai then and isekai now is the intended audience – 25 years ago, it was a staple of the shoujo demographic, rather than today’s escapist playgrounds for young men. Ordinary young women were pulled into alternate worlds where attractive young men told them they had a special destiny to fulfill. They went on grand adventures and usually – though not always – fell in love along the way.

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Interviews with Monster Girls: Succubus-san is Guilty until Proven Innocent

Content Warnings: Ace erasure, sexual assault, victim blaming

When Interviews with Monster Girls premiered two months ago, it surprised many fans by treating its subject, demi-humans, as an allegory for disability rather than fetishistized harem material. The first episode treated the concept with unusual sensitivity for the genre, highlighting how the girls’ unique needs must be accommodated to ensure equality, rather than treating everyone exactly the same way. Since then, the series has made a number of missteps, despite what I can only assume are the best of intentions, but its well-meaning sincerity generally makes up for it.

The seventh episode, “Succubus-san is Inquisitive,” features Sakie Satou, a succubus trying to live in the mainstream as a teacher despite how she involuntarily arouses men simply by existing, and Detective Ugaki, the police officer who has been tracking her for most of her life. Because of the poorly-handled inclusion of real-life issues such as covert photography and train molestation, this is easily the most awkward and uncomfortable episode yet.

Continue reading “Interviews with Monster Girls: Succubus-san is Guilty until Proven Innocent”