Why Netflix’s Rurouni Kenshin Revival Is Fueling an Old Controversy

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Nearly a decade past, it was Nobuhiro Watsuki (possibly Nishiwaki), the manga artist behind Rurouni Kenshin (and also Buso Renkin, if relevant) who faced charges for possessing child pornography. Regrettably, he received a lenient sentence without any jail time, and his career persisted. Recently, this issue has resurfaced, with Gaming Bible highlighting the most concerning aspect – a particular progressive TV station has been airing the remake series.

Over time, Netflix has consistently expanded its library of anime shows, even though it might not yet match Crunchyroll’s offerings. However, Netflix does provide an impressive selection of top-tier anime series for viewers to enjoy.

It’s worth noting that among its recent updates, there’s something new that’s bound to generate a lot of buzz within the anime enthusiasts’ circle.

The streaming service has added the 2023 remake of Rurouni Kenshin.

Although the anime doesn’t present any content that’s notably questionable, its creator, Nobuhiro Watsuki, has become a subject of controversy.

– The anime itself isn’t known for presenting anything debatable, but its author, Nobuhiro Watsuki, is often the topic of debate.
– While the anime doesn’t contain any controversial elements, its writer, Nobuhiro Watsuki, has stirred up controversy.
– The anime lacks anything that could spark debate, but its creator, Nobuhiro Watsuki, is a person who sparks discussions about controversy.

Initially admired, the creator later faced disgrace when it was found that he had illegal images of children on him.

As per ComicBook, “over 100” images and “incriminating DVDs” were found back in 2017.

Even though there was overwhelming evidence against him, Watsuki escaped prison time and was instead fined 200,000 yen.

Over time, Watsuki continued creating additional manga series, but the influence of Rurouni Kenshin remained significant; as a result, the production of the second season was temporarily paused because of the accusations.

Given the secretive events that transpired, it’s no surprise that Netflix’s choice to feature this anime has sparked a great deal of controversy.

By choosing to produce this anime remake, Netflix seems unwilling or unable to learn from the lessons of the controversy surrounding “Cuties” about five years ago. Many western audiences have discarded their copies of the manga, feeling betrayed by Watsuki’s actions and seeing no value in them due to the market devaluation and loss of entertainment appeal caused by the scandal. It’s unfortunate that while Watsuki’s reputation may be tarnished in the west, it remains intact in Japan, suggesting a lack of moral conviction strong enough to fully reject an entertainer if their body of work is deemed substantial enough.

I’m undecided about the upcoming Netflix remake, but the original series from the late 90s wasn’t entirely devoid of issues. For instance, there was a subtle joke involving sexual assault and the character Yahiko that was used in the storyline. Furthermore, it’s worth discussing the violence portrayed in the series, including a scene where a villain attempted to use a child as a shield against Kenshin. However, we’re expected to view his refusal to kill a villain, even when protecting an innocent life, as praiseworthy.

A few months ago, a writer at Popverse spoke about the anime/manga, and said:

Why does this matter today? Because Watsuki, the creator of Rurouni Kenshin, was convicted for possessing child pornography and admitted to being attracted to underage girls. Despite this, he only received a fine of 200,000 yen (approximately $1,900 at the time) and no jail time, and his manga went back into publication less than a year later. The fact that the industry has essentially ignored the incident and continued to support him doesn’t sit right with me.

As a journalist specializing in anime, I’m always juggling numerous shows airing each season with my limited time. It’s challenging to cover them all, so I must be selective. I don’t just choose based on what will generate traffic; I also prioritize shows that deserve more attention and recognition.

Unfortunately, you might not have seen updates about the Rurouni Kenshin: Hokkaido Arc manga going on hiatus again or the reboot series airing this Fall 2024 at Popverse because I tend to avoid content associated with creators whose actions I find questionable.

I’d like to clarify that my stance here doesn’t imply criticism towards those who enjoy the Rurouni Kenshin series, be it through watching or reading. In fact, as I mentioned at the start of this article, it held a significant place in my childhood happiness.

However, when it comes to utilizing my platform, I feel compelled to address an issue that I believe is important: the actions of Nobuhiro Watsuki, which were quite problematic and went largely unpunished until he stopped profiting from the Rurouni Kenshin series. Therefore, any discussion or promotion of the series on my part would involve acknowledging this aspect.

Before any comments arise, I understand the apparent contradiction in discussing Runouni Kenshin within an article that avoids anime-related content. However, it’s essential to clarify the purpose of Popverse; although it isn’t an anime-centric platform, we delve into the entire spectrum of pop culture. This diverse audience may not be familiar with Rurouni Kenshin, having missed the show when it initially aired or being less connected to the anime world during the time when news about Watsuki’s actions surfaced. Therefore, this article serves as an educational resource for those who were unaware of the situation at the time, allowing them to make informed decisions about what media they choose to consume and engage with.

From my perspective, this platform might not specialize in anime, but it’s questionable about its reliability when it comes to specific subjects. For instance, it was among several sites that initially shied away from discussing the Neil Gaiman sexual abuse allegations when they surfaced in July 2023. It wasn’t until New York Magazine published a subsequent investigation in January that this Popverse article appeared, shedding light on their stance. Therefore, I approach this piece with caution, considering its selective approach towards a topic and the potential awareness of any hypocrisy in not applying consistent standards to Gaiman compared to other figures, such as Watsuki, for example.

Screen Rant also discussed the subject, and this is what they argue:

One of the unfortunate realities in the world of anime is that the tarnished reputation of a series’ creator, Nobuhiro Watsuki, has significantly impacted the cherished status of Rurouni Kenshin for many fans. First airing over two decades ago, Rurouni Kenshin swiftly garnered a massive following and left an indelible mark on the anime landscape, shaping the childhood memories of countless viewers. Given its popularity and significant influence on the shōnen genre, it’s easy to see why many consider it one of the greatest animes ever made. However, it’s difficult to fully appreciate Rurouni Kenshin’s impact without recalling the controversy that swirled around its creator.

Rurouni Kenshin, a captivating anime series, presents a samurai’s journey towards redemption, boasting exceptional character development and action sequences. It offers a glimpse into the culture of 19th-century Japan during the Meiji Restoration, a time of transition from feudal society to an industrialized one.

However, while some viewers might argue that separating the art from the artist is prudent, certain actions are hard to ignore. As time passes, it becomes more challenging to overlook these actions, especially when there seems to be no accountability for them.

Regardless of their fame or ability, individuals should face appropriate penalties for their wrongdoings. In the case of Watsuki, despite Japanese laws against child pornography being enacted just three years prior to his arrest, his charges still potentially carried prison sentences of up to one year and fines of up to one million yen. Yet, instead of serving jail time after admitting his guilt and attraction towards underage girls, Watsuki was only required to pay a fine of 200,000 yen (approximately 1,900 US dollars at the time).

Many fans found the excessive penalty given to be questionable and inadequate, considering it didn’t seem proportionate to the charges. Moreover, Watsuki escaped with minimal consequences beyond public criticism, maintaining his prominent position in the medium. Even renowned manga creators like those behind One Piece and Shaman King, who were once his apprentices, defended him at the time. Consequently, many original fans of Rurouni Kenshin feel it’s no longer suitable to continue supporting the series given the industry’s acceptance of the author’s actions.

As an ardent reader and art enthusiast, I find myself torn between separating the artist from their work and not supporting those who’ve made mistakes. This dilemma is particularly evident when it comes to the novels penned by Neil Gaiman. While it’s essential to separate the man from his masterpieces, as a responsible consumer, I can’t help but question whether my dollars should fund such individuals.

Given the serious nature of the charges against Nobuhiro Watsuki, it would have been more appropriate for Shueisha to terminate their contract and halt the publication of Rurouni Kenshin: The Hokkaido Arc following his arrest. However, this did not occur; instead, the manga was only temporarily suspended and later resumed with a brief statement from Shueisha six months after Watsuki’s arrest, much like what happened with Act-Age when its author faced sexual harassment allegations.

Tatsuka Matsuki, creator of Act-Age, was indicted for sexual assault. However, labeling it as mere harassment doesn’t fully capture the severity of the situation. Unfortunately, Matsuki received a suspended sentence, adding another instance to the list of miscarriages of justice. Coincidentally, or perhaps ominously, the last names rhyme in English – Matsuki and Uzasaki.

Screen Rant’s writer also says:

Despite the apparent impact on Rurouni Kenshin’s author, the franchise’s continued strength in Japan suggests a possible avoidance of accountability, much like Mitsutoshi Shimabukuro, creator of Toriko. In 2002, Shimabukuro was arrested for breaching child prostitution laws by paying a 16-year-old prostitute. He was sentenced to two years in prison, suspended for four years. Remarkably, he resumed his work in the industry just two years later and released Toriko, his most successful work, in 2008, demonstrating that significant manga authors often face minimal long-term consequences.

It’s questionable if the analogy holds up here. To elaborate, although prostitution may be seen as distasteful by some, Shimabukuro wasn’t breaking any statutory laws at that time. However, it’s worth noting that in Japan during the early 2000s, the age of consent was 13 years old. That’s quite troubling, isn’t it? Now, two years ago, the legal age was raised to 16. So, depending on your perspective, Shimabukuro wasn’t breaking any statutory laws even by contemporary standards.

If he didn’t engage in any harmful or violent behavior towards the prostitute and the encounter was consensual, that’s another reason this comparison might not be accurate. But, as for a site like SR (Shit Reddits Say), it’s not surprising they’d make such an analogy, given their tendency to be pretentious.

In a different phrasing, the narrative of Rurouni Kenshin stands apart from any scandals involving its creator, as it lacks explicit or morally dubious content. Instead, it advocates for peace and redemption, portraying Kenshin’s character as an example that people must face the consequences of their actions. The series also presents a compelling idea that even individuals with profound wrongdoings in their past may harbor kindness and assist others. It is speculated that Watsuki might have unconsciously fashioned the character of Kenshin to grapple with his own guilt about his unacceptable inclinations.

In stark contrast to Watsuki’s questionable behavior and lack of remorse or repentance, Hitokiri Battosai’s unwavering righteousness and commitment to living an honorable life stand out. This is especially ironic considering that the author of Rurouni Kenshin, known for creating such morally upright characters, could produce such noble figures. The central theme of Rurouni Kenshin lies in its moral lessons and philosophical depth, encouraging viewers to ponder their own lives, and showcasing the idea of justice without resorting to violence. At the same time, it delves into the flaws of nations and society. What makes this even more infuriating is that the profound story of Rurouni Kenshin will forever be judged based on the actions of its creator.

It’s intriguing to note that a work like Kenshin, which suggests that even the most heinous offenders can be forgiven, veers into problematic territory. This idea is not unfamiliar, as it can apply to figures in entertainment who harbor significant moral flaws, such as the disgraced comedian Bill Cosby. While his work may not have contained explicit questionable content, his private conduct was troubling and contradicted the moral values he presented publicly. This duality is frustrating, as it’s seen with individuals like Cosby and Watsuki – they exploit morality to deceive the public about their true character.

I recall a post on a forum stating that even before Watsuki’s scandal was made public, some viewers felt that Rurouni Kenshin was becoming outdated. If it indeed rests on dubious foundations, this could be the reason. Additionally, there’s the controversial rape joke scene involving Yahiko from the late 90s TV show, which raises questions about the absence of ethically questionable scenes in the work.

Lately, the Answerman column on Anime News Network has tackled this topic. The author of this piece shares his thoughts:

Absolutely, by our ethical standards, his punishment was undoubtedly too lenient. This isn’t about cultural bias, but rather a reflection of strongly held values concerning the protection of children.

It’s important to recognize that Japanese culture varies significantly from Western cultures, particularly American, in various aspects including legal systems and views on crime and punishment. While you propose we should trust their decision on appropriate punishment, I find myself at odds with this viewpoint. Instead, I believe it’s crucial to scrutinize the Japanese system’s judgment more closely, considering both its unique cultural context and the potential for disparities in justice.

Regarding cultural diversity, it’s crucial to remember that we must never compromise our ethical values. Child Sexual Abuse Material (CSAM) is universally regarded as a heinous crime. To propose leniency in punishment due to cultural norms is to trivialize the gravity of the act.

In the Japanese judicial system, demonstrated by Watsuki’s case, there seems to be a strong emphasis on rehabilitation and readjustment into society, frequently using fines and probation instead of long jail terms. This stands in stark contrast to Western systems, where similar offenses often result in harsh penalties.

In your argument, it appears you suggest that although the Japanese legal system may have found him guilty, he was not punished with imprisonment but instead given a fine, allowing him to continue his life. I strongly oppose this decision. The penalty Watsuki received seems excessively lenient, taking into account the severity of his offense. This leniency raises concerns, especially in a culture dealing with the issue of sexual exploitation and the normalization of underage girls’ hypersexualization in manga, anime, and video games.

A lenient sentence overlooks the possible damage to victims, both identified and unidentified. Child sexual abuse content is not a crime without victims. It sustains a market of abuse and exploitation. The insufficient penalty appears to show disregard for the suffering caused.

I’d like to acknowledge that the author of this piece has recognized significant issues with the depicted image. From a moral and civilized standpoint, it’s appalling and disturbing to sexualize minors, as seen in instances such as Yahiko’s character in Kenshin’s anime series, and the offensive joke associated with him. This could potentially reveal the author’s true feelings towards the subject, although it may just be a momentary lapse.

It’s also important to recall that Gerard Jones, who was later discredited, served as the translator for the Kenshin manga years before. However, those who believe injustices don’t happen within the Western legal system should consider cases such as the Rotherham rape scandal in Britain. When justice systems are lenient, they not only fail to address the crimes but also disregard and disrespect the victims.

In the online discussion, some people provided replonses similar to this, directed at someone who attempted to minimize Watsuki’s offenses by referring to the year 2014, which marked the implementation of laws prohibiting child pornography:

– “It seems you are trying to justify his actions based on when a specific law was enacted. However, it is important to remember that such acts were already considered unacceptable and illegal long before that.”

– “Your argument suggests that because the law against child pornography was only established in 2014, Watsuki’s actions might have been acceptable earlier. This is not the case, as his actions were immoral and illegal regardless of when a specific law was passed.”

– “It’s worth noting that laws against child pornography had already existed before 2014. Therefore, trying to use this fact to defend Watsuki’s actions is misguided.

The statement you provided is inaccurate and has been widely disseminated by individuals trying to minimize his criminal activities. Contrary to what some people have claimed, including several users in this discussion who were corrected on multiple occasions, Watsuki confessed that he continued to accumulate a vast amount of material after the alleged date. The reason for his discovery was because he was buying so much that they suspected him of being a distributor. I urge you not to underestimate the gravity of his offenses by accepting misleading stories about these incidents, which are intended to protect child sexual abuse material (CSAM).

It’s incredibly disturbing when people try to downplay the gravity of such crimes, as if laws somehow justify their actions before they are brought to light. And what’s more troubling is that these defenders often hide behind pseudonyms. These individuals should be treated with similar disdain as the criminals themselves.

Another said:

Watsuki’s case and Matsuki’s case are distinctly different, and they cannot be compared or equated in any way. The legal system and the public do take these differences into account when it comes to punishment and perception. If someone fails to understand the distinction between physically abusing a child and owning inappropriate material, that is their own lack of understanding. It’s important to recognize that nuances exist even if some refuse to acknowledge them. The most crucial aspect here is that the legal system acknowledges these differences in criminal behavior, which ultimately dictates the consequences.

For instance, if Watsuki had committed his crime in my state, he would be classified as a Tier 1 offender, eligible for record expungement after around 10 years. In contrast, Matsuki, who involved physical violence, would have to register for life due to the nature of his offense. Naturally, Matsuki is treated more harshly because he committed a far more serious crime than Watsuki did.

Although Matsuki was the one who performed physical crimes, it doesn’t diminish the fact that Watsuki’s actions were equally reprehensible. When he purchased those DVDs, he essentially endorsed sexual violence against minors by others. This is akin to him condoning others to carry out such acts on his behalf, which is also wrong.

Now, one more comment:

For me, the lenient aspect has always been the “here’s your entire career, a continuing manga and a new adaptation, don’t worry about what you might spend the earnings on,” which is why I steadfastly refuse to engage with his new work and even think that his old work should only be encountered in unusual circumstances, if you catch my meaning. And I express this as someone who considers RuroKen one of her initial anime and a timeless manga favorite, who watched the first live-action film in Japan and learned to appreciate roasted barley tea just so I could gather all the cellphone charms released with it. I have strong feelings for this franchise, but I care more about the children in the DVDs he collected.

Some people might argue that we should separate an artist from their art, but personally, I can’t do that as long as he’s still alive. One of my favorite aspects of his manga were the side stories about his character creation and dealing with SJ censorship, so I find it difficult to disconnect those creations from the creator himself at this time. Fortunately, his personal inclinations don’t seem to be reflected much in his work, so perhaps once he’s no longer around, I may be able to separate what he created from what he did.

It’s intriguing to ponder if understanding some content becomes less challenging once its creators have passed away. This idea might apply to works featuring O.J. Simpson, whose acting career was tainted by his involvement in the murder of Nicole Brown and her boyfriend in 1994. The impact was particularly significant on the Naked Gun movies he starred in at that time. It’s unfortunate, but when artists engage in such reprehensible acts, it can make enjoying their work uncomfortable. Perhaps, if the artist passes away, it might be easier to distinguish the screen persona from the real individual, but it’s not straightforward when one knows they were monstrous.

This concept also applies to Charles Dodgson (Lewis Carroll), author of Alice in Wonderland, who has been accused of inappropriate behavior with children. Such allegations could lead to a decrease in admiration for his works, even though he passed away almost 2 centuries ago. While it may be easier to separate the art from the artist in this case, the disturbing history still provokes anger.

In the interim, it’s frustrating that Netflix doesn’t seem to grasp why it’s inappropriate to produce works that could potentially earn authors royalties, adding another reason for people not to use their service. So far, I haven’t seen any other mangas from Watsuki besides the four he’s credited with, which might suggest that Japanese publishers aren’t accepting new work from him because they think it won’t sell, leaving him reliant on Rurouni Kenshin alone. However, even his older works continue to be popular, and the fact that studios are remaking the anime in a new series indicates Japan still has room for improvement in terms of ethics. For now, sensible anime viewers should abstain from consuming Watsuki’s productions, and it won’t come as a surprise if some manga/anime fans have discarded his earlier works since the scandal broke out nearly a decade ago.

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2025-04-05 23:17