Werewolves will be familiar to anyone who has ever watched any western horror, or horror themed films and television series. They are often portrayed as beasts of immense strength, a vision of unhindered sexuality that are primeval and dangerous. There is a primal power attributed to werewolves in western fiction – hardly surprising as the beliefs in werewolves evolved alongside belief in witches – and they may be portrayed as strong, noble, but also dangerous, and unstoppable. In western traditions, the werewolf is often a symbol of becoming a pariah for losing or failing to find an acceptable role in the social order. This theme can be linked to notions of puberty, sexuality, along with race, class, and gender roles, with werewolves displaying elements of hyper-masculinity, along with an inability to truly fit into human society and becoming a dangerous force that must be crushed.
I am particularly interested in the way werewolves, or generally wolves in anime and manga incorporate many of these same characteristics; they can be highly sexualised, incapable of fitting into their current society, but also strong, powerful, and charismatic. But, I consider the werewolf to be portrayed as a far more complex creation in anime and manga, one that is used to explore, or depict a large number of different themes and ideas. Rather than incorporating many of the western beliefs and imagery, the use of wolves and shape shifters found in anime and manga are part of a complex series of Shinto and broader Animist beliefs and imagery. Shape shifters play an important role in traditional Japanese animism, serving as tricksters, dangerous spirits, and the messengers of gods. Wolf imagery is more visible in manga, where male characters are given the traits of the wolf as a metaphor for their power and masculinity, although they are also literal werewolves, shape shifters that take on the form of a wolf to defend themselves and those they love, or to destroy those they hate. The depiction of Tanuki (racoon-dogs), and kitsune (foxes) are more common in anime, with series like Uchouten Kazoku, Inari Konkon Koi Iroha, and Gingitsune serving as examples of shapeshifters that are central to the series narratives. Despite the relatively large number of series depicting spirits, shape shifters, and other aspects of Shinto and animist belief systems, there are relatively few that deal with lycanthropes or wolves.
Wolves are at the centre of Mononoke Hime’s narrative, presented as deities, natural forces, and an example of nature’s power, and danger. San, the wolf princess is a human raised by Moro the wolf god, she is therefore considered to be more animal than human. This is reinforced by her actions and ways of dealing with the impending threat that the greed of humanity pose to her home, and the primordial forests that cover Japan. She is not a werewolf in any literal sense, but is instead a lycanthrope by nature, taking on the characteristics of one, and becoming something more than a werewolf, while still maintaining her human form. When we first encounter San she moves and acts wolf-like, and believes that she is a wolf at heart, something that Moro encourages. But, she is a human, and is aware of her own humanity – her wolf-like nature is something she has learned, and internalised based on her own experiences as a human. San’s actions and reactions are those of an animal – she is agile, appearing superhuman on several occasions as she jumps tall barricades or clearing large crowds of people with comparative ease.
Her fight with Eboshi in Iron-Town demonstrates her animalistic tendencies as she growls, snarls, and is seen landing on all fours after a significant fall. This is juxtaposed with Eboshi’s fighting style, using highly worked steel swords, and classic fencing moves, as opposed to San’s feral swings relying on instinct rather than training. Interestingly, the ironworkers are portrayed in this scene as vicious, even selfish, as they create a wall of spears to prevent San from escaping. San’s instinct is that of a wolf, she moves and acts in accordance with we wolf-like nature, but this comes into conflict with her own humanity, and the knowledge that despite her upbringing, she is a human, not a wolf. This conflict is brought into focus by Ashitaka’s assertions that humanity is capable of living with nature in a harmonious way. He is the outsider, a boy from a different Japanese tribe (not the Yamato people, the dominant ethnic group in Japan), but one that too many has long since vanished from the islands. His people’s ability to live harmoniously with nature is alien to the Japanese he encounters on his travels, and the forest dwellers like San, and Moro, who view humans as a plague that should be exterminated.
San loves the forest and all that live in it, demonstrating the will to destroy anything that threatens its existence, but in doing so she resists her own complex nature, attempting to ignore, or suppress her own existence as a human with the knowledge of a wolf. The juxtaposition between San’s humanity and her wolf nature further demonstrates the complicated relationship that the Japanese have with their landscape. It is a beautiful, but dangerous landscape, and while the Japanese may celebrate nature in all its forms, they also attempt to control it at every step, with the concreteification of every river, coastline, and mountainside as evidence of their attempt to keep destruction at bay. Furthermore, many of the gardens, temples, and monuments that are used to demonstrate the beauty of nature are highly controlled spaces that are carefully maintained. This suggests that nature is beautiful if it can be controlled, a nature that is simultaneously natural, but without the inherent dangers associated with it. The same is true of Mononoke Hime, the nature that these characters look up to is one that can be easily controlled and bent to the will of humanity – the forest spirit and wild primordial forest that is its home represents a nature that is uncontrollable, one that humans must either fear, or be wary of and treat with respect. The wolf in Mononoke Hime is a being that is beautiful to look at, a noble, powerful creature that does not deceive unlike the Kitsune, but it is also dangerous and poses a threat to human settlement if driven to the brink. San is in a sense the embodiment of the wolf, or more specifically humanities idea of the wild in human form – she is dangerous because she is unconstrained by the rules of human society and is unconstrained by societies expectations and morals. The wolf in Mononoke Hime is an allegory for the dangers that exist outside of society, the wild, untamed wilderness where mystical beings live. It can also be seen to represent the power to break free from the restraints that society places on our actions and words, a noble idea that is nonetheless dangerous in its opposition to the social order.
Wolf’s Rain offers a different portrayal of wolves in Japanese mythology, one that explore the more tragic qualities of wildlife, especially those that can shape shift. The series presents a far less optimistic view of the relationship between humanity and nature than Mononoke Hime, depicting the many misunderstandings and problems that can occur when the two exist side-by-side. While the wolf pack in Wolf’s Rain takes on the appearance of boys, their behaviour and understanding of human society and morals are those of a wolf, which leads to tragedy and death throughout the series. One such incident takes place when one wolf accidentally kills a young child that it was trying to save while another involving Toboe who accidentally killed the elderly woman called ‘Granny’ who raised him in an unrestrained act of playfulness. In both cases the wolves do not understand their own strength compared to that of humans, thus the deaths and injuries that they cause are as a result of a fatal disconnect between human society and their own knowledge. The main cast is depicted following their instincts, with Kiba always pushing ahead in his quest for Paradise, regardless of what troubles he may encounter along the way. Furthermore, until Kiba meets Hige his pride as a wolf means he rarely disguises himself as a human, resulting in numerous problems for him and the other wolves who follow him early on.
The wolves are all depicted as adolescents, with little concept of right or wrong as a human would understand it, and at times an obsession with finding Paradise, regardless of what dangers they may face. They are certainly not mindless or soulless, but because they are wolves, an animal that is supposed to be extinct, and one that other characters obsess over as they are the only ones capable of finding paradise. They are, however, stuck between worlds, unable to live in the human cities, but also in constant opposition to the nature that surrounds them. Because of this they are stuck between worlds, incapable of living in human society, but existing in a world that forces them to interact with it, ultimately leading to their own demise.
The wolves appear to truly understand nature, they are noble and majestic creatures that have maintained the purity humanity has long since lost, and as the only creatures capable of discovering paradise, they are the ones who can usher in a new world. But, as the show progresses we learn that the paradise which the wolf pack searches for may be an illusion, one that was created by them, for them. And when they do discover paradise, it is the remaking of the world, rather than a mystical land akin to Shangri-la. Furthermore, Kiba’s obsession with finding paradise, and his devotion to Cheza, the key to opening paradise, often pitch the pack into conflict with others around them. This suggests that wolves can be as out of touch with nature as humans, and are as prone to dreams and idealised notions of paradise. It is their adolescent nature that makes the lycanthropes in Wolf’s Rain dangerous, as with San in Mononoke Hime they are unconstrained by human societies morality and laws, the daydreamers, and are incapable of seeing the reality that is in front of them. In a sense, the wolves in Wolf’s Rain are too human to be wolves, and maintain too many qualities of a wolf to live in human society – they are caught between the two, the ultimate outsiders which lead to their inevitable destruction.
This status of the lycanthrope as a social outcast can be balanced by the existence of a wolf pack, an alternative social order that the werewolf can belong to. The pack is a controlling force, and if you go against it, you ultimately face the wrath, not only of society, and the pack itself. The wrath of the pack is demonstrated in Ookami Kakushi, where the world of wolves and ancient gods, along with the human world intermingle. The boundaries blur in such a way that it is often impossible to tell them apart, which is part of the problem. In a sense, Ookami Kakushi is exploring what happens when the boundaries between a wolf society (the pack/nature) and that of the human realm (logical and intelligent) intermingle. It also demonstrates the sexual desire that wolves and werewolves, in particular, have come to portray in western and eastern mythology. In this show, all humans emit a certain scent, one that can attract wolves, and if they are not careful, cause them to lose control of their senses. The series main character Hiroshi Kuzumi is described as being a ‘temptation’, somebody who emits such a strong scene that wolves exposed to it for a comparatively short period of time will lose control of themselves and become beasts consumed by lust and desire. In a curious twist, it is not a beautiful woman that causes the wolves to lose control, but a teenage boy who drives women mad (although we can also assume that his presence has the same effect on men). His scent is so powerful that he eventually drives the people of Joga to lose their humanity, becoming beasts driven by their desires. These uncontrollable desires are in contrast with the logical ‘human’ approach to life, it is not natural, but it is a part of nature that can cause immense damage if not treated with respect.
The sexual desire of the wolves is kept in check for most of the series, but, as with a flood it cannot be restrained forever, as it is a force so powerful that their society is ultimately incapable of fully controlling it, thus demonstrating the power and uncontrollable nature of the wolf, one that acts on instinct, with no knowledge of either good or wrong. The ‘fallen’ as they are known in Ookami Kakushi give into their desires and temptations of the human world, thus becoming dangerous. Their threat to the harmony of the pack is such that they must be destroyed for fear of damaging the cohesion of the pack itself. The pack in this case is the controlling factor in society, and to go against it means, not only being ostracised but ultimately leads to the downfall of the individual, who is incapable of functioning without the pack. The fallen also exhibit such strong urges often associated with wolves, or something more ‘natural, that there is also the suggestion that the people of Jogo have evolved from wolves, successfully taking on human forms, even if remnants of the wolf instincts remain. That being said, as with other series, the villagers in Ookami Kakushi do not take on wolf forms, their lycanthropic nature is a metaphor for the power that a group has in maintaining social cohesion. It also represents the consequences of suppression and repression in society, and the damage that breaking that social cohesion can have on the group, causing rifts and destruction. The use of stylised outfits, weapons, and actions adds an element of Kabuki symbolism to the series, further emphasising the power of the group, and of tradition. The power that is held in check by the pack, the desires, wishes, feelings, and emotions are all kept under control by the group’s needs and retraining presence. The village community is managed as if it were a carefully orchestrated play, a façade that helps to hide the group’s insecurities, and one that is maintained through the death or those who would put its cohesion in jeopardy.
The depiction of wolves, or those with lycanthropic nature in anime take on many different forms, with series like Ookami Kakushi, and Wolf’s Rain, alongside the film Mononoke Hime presenting us with non-traditional portrayals of lycanthropes. Other series or manga like Dance in the Vampire Bund, and Wolf Guy – Ookami no Monshou offer a more traditional, Western depiction of werewolves, otherworldly creatures with deep connections to the wilds, and other supernatural beings such as vampires. The examples I’ve used do not depict werewolves as supernatural, at least in the traditional western sense, but they are still symbols of power, and at times, lust. Lycanthropes in anime are ambiguous creatures that represent the power of nature and its impact on human society. Their depiction in anime also serves to highlight the importance of the group in Japanese society, and the dangers associated with breaking away, being disruptive, and causing disharmony.
If you are familiar with the anime mentioned, or perhaps other anime and manga that I have not named you may recognise the destruction that these characters can cause on human society when they lose control, or simply because of their own ignorance, or indeed, innocence. Characters like San, Toboe, and a number of characters in Ookami Kakushi cause havoc, misunderstandings, and in some cases death all because they lose control or don’t know their own strength. Maintaining group cohesion is still an important part of Japanese society, and lycanthropes appear to represent the dangers of breaking that cohesion. These characters aren’t necessarily loners (although a number of them are), but they are independent, and will often refuse to follow group consensus, choosing their own path. This is one of the main reasons I find their ambiguity interesting, they represent the power and majesty of nature, but also its dangers, with the pack symbolising the importance of group cohesion in human society. I think that the use of wolf imagery in anime, perhaps describing a character as a wolf, or directly adding lycanthropic attributes to their characters allows an anime to portray them as strong, independent, but also dangerous in a way that can avoid melodrama or teen angst. Of course, that can also be an integral part of the character or series, especially if the narrative focuses on individuals in the teen years, but it can also add extra depth or weight to a character and story.
I have only mentioned a small selection of titles in this piece, and there are plenty more available, especially manga, where the depiction of ‘wolf-like’ behaviour can be found in any number of series, especially those in the broader shounen genre where it is often used to characterise highly masculine, even aggressive male characters. The depiction or use of wolves as characters in anime isn’t as widespread as other shape shifters, and the anime I mentioned are fairly spread out (1997, 2004, 2010), but I still think they demonstrate some of the characters uses. It is also interesting to note how different many of these characters are from the werewolves you are likely to see in western films and series – although twilight certainly uses the sexy/handsome image of a werewolf found in certain manga – with less emphasis on horror themes, instead focussing on their links with nature and human society. It’s a shame that we don’t see these sorts of characters more often, but then they are obviously not as popular, or as interesting to anime writers as kitsune, tanuki, or any number of other ghouls, ghosts, shape shifters, and any number of strange creatures.
Fascinating read, Alexander. And yeah, the depiction of werewolves that I’ve seen in western media almost always leans towards the supernatural & horror aspects such as in the 1941 movie classic “The Wolf Man” or in the more recent Netflix series “Hemlock Grove”. The meanings aren’t always as deep as they seem to be in anime & manga but it’s good to see these comparisions made though. Good article!