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Investigating gender differences between perceptions of moral alignment in anime

Christopher R. Warren, Raquel Rubio, JJ Mueller-Dombois, Joshua Murillo, Syeda Ullah, Giovanna Pineda, Sara Dorame, & Iris Lieu

| Department of Psychology | California State Long Beach

Abstract

Introduction

Methods

Results

Future Work

  • This research should be extended by investigating other media, having a larger data set, and looking at a more comprehensive way of measuring morality for both alignment and role.
  • Future research should look into a wider range of animes and Western comics, not just those that are popular in the U.S.
  • Look into the effects of potential translation errors, in which coding based on subtitles or dubbed media influence portrayals of morality.
  • Characters shift throughout series, in which case a character may assume the role of an antagonist or protagonist, only to switch. Look to quantifying these switches as to determine someone’s true role, or take their final role when the series ended.
  • Further study may also include investigating animated versus live action media, as to explore parallels between the mediums.
  • Expanding the variables such as alignment to include categories beyond good and evil and roles that take into consideration shifts.
  • Advancing, examining stress, immigration status, and how the powers of anime characters align with stereotypical gender roles.
  • Beyond this, potentially looking at genre differences as they relate to gender representation.
  • Group often depicted in the comic arts and media are either protagonists, antagonists, or antiheroes.
  • Aim of this study was to analyze the portrayals of moral alignment present within characters of varying genders and legal status (i.e., immigrant, native) between anime and Western comics.
  • Each character coded across dimensions including moral alignment (good vs. evil), moral role (protagonist, antagonist, antihero), and other character demographics (i.e., gender, legal status).
  • The analysis of over 500 characters from several different animes and comic universes allowed for a wide sample base.
  • Few studies traversed how gender and citizenship are represented in anime, particularly in reference to moral roles and alignment.
  • Within the anime medium, there was a significant relationship between moral role and alignment, where the more evil a character was considered, the more likely they were to be deemed an antagonist.
  • Furthermore, there was a significant relationship between gender and medium, where anime had a greater concentration of male characters opposed to Western comics.
  • Despite this, there were no significant correlations between gender and legal status with moral alignment or moral role within the animes coded.
  • Anime is a Japanese art form popularized and profited off of in the West, where the media reflects perceptions of gender expectations in alignment with societal norms shared between Western and Japanese cultures.
  • In contrast, anime displays alternative gender norms, where cross-cultural differences are apparent between American comics and anime in terms of stereotypical behavior and moral role.
  • Between gender identity, anime was wholly male-dominated, where female characters played either secondary roles or were omitted entirely.
  • The aim of the current study was to explore the influence of gender and citizenship on portrayal of good and evil, as well as the character’s role towards the plot - protagonist, antagonist, or antihero.
  • Concurrent with past literature, within the sample, 70% of anime characters identified as male, while only 30% identified as female, and none outside of the binary genders.
  • This may indicate that in the male-dominated spheres of comics and reality, women are often invisible and overlooked, thus further research should investigate the origins of moral alignment discrepancies between gender identities.
  • An existing database of comic book characters containing 370 characters was expanded to almost 500 characters for the purpose of this research.

  • Characteristics of anime and comic characters (N=452) pertinent to this study acquired through online databases, configured onto an Excel sheet.
  • Each character coded across moral alignment, moral role, and gender; coder agreement of κ = .862.
  • Analyses of variance for testing of each hypothesis utilizing means across characters for each of the major variables.
  • Moral alignment scale representing good=1, evil=2; moral role differentiated by 1=protagonist, 2=antagonist, 3=antihero; gender as 1=female, 2=male, 3=nonbinary.

Conclusion

Yuji Itadori

Tanjiro Kamado

Eren Yeager

Monkey D. Luffy

Ichigo Kurosaki

Edward Elric

  • Pearson correlations were performed on the of 452 characters to test predictions.
  • First prediction was male characters were going to dominate the narratives; analyses revealed they made up 70% of anime characters.
  • Results showed that media form (i.e., anime, Western comic) was significantly correlated with gender, r(548) = .103, p = .015.
  • Results showed that gender was significantly correlated with moral alignment (i.e., good, evil), r(462) = .133, p = .004, as well as moral role (i.e., protagonist, antagonist, antihero), r(458) = .132, p = .004.
  • Within anime, results showed that moral alignment (i.e., good, evil) was significantly correlated with moral role (i.e., protagonist, antagonist, antihero), r(145) = .648, p < .001.
  • Results demonstrated that anime seems to be more male dominated.
  • No significant correlations between gender and moral alignment or moral role within the animes coded, as well as legal status.
  • However, there was a significant relationship between gender and media form, where anime had a greater concentration of male characters, in comparison to Western comics.
  • Beyond this, there was a significant relationship within the coded animes and between medias in reference to moral role and alignment, where when a character was coded as good, they often were protagonists, and vice versa.
  • The depiction of anime and comic characters in the graphic arts supported stereotypes associated with masculinity and femininity in reference to role within the plot.
  • These results can facilitate discussion about how protagonism and antagonism as they relate to good and evil influences public perception of gendered representation within comics and anime.

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2 of 2

Investigating gender differences between perceptions of moral alignment in anime

Christopher R. Warren | Department of Psychology | California State Long Beach

Abstract

Introduction

Methods

Results

Future Work

  • Typical depictions cross-media should be investigated for similar messages and stereotypes displayed
  • Future investigations should look to see how individuals respond to representations of characters of various military experience in a laboratory environment
  • Further study would be insightful within the context of animated and live action media to detect parallels between content of the graphic arts as an index of psychological distance
  • In-depth cross-examination within military subjects may reveal themes or factors dominant in contribution of mental health typical that may be represented in characters or ignored in the comic arts
  • This research should be extended by investigating childhood trauma and superheroes for cues to identification with characters
  • Variables such as resiliency in the face of traumatic events can help us understand how we can use their story to help children and adults with history/presence of trauma, or investigate the presence of these themes in media

  • Group often depicted in the comic arts and media are military who often suffer from the stereotype of mental illness
  • Aim of this study was to analyze the portrayal of mental illnesses present within characters who have a military background in comparison to non-military characters
  • Each character coded across dimensions including mental health status, social inclusion, and other character demographics (e.g., gender, ethnicity, immigrant status). 
  • The analysis of over 400 characters from several different comic universes allowed for a wide sample base. 
  • First hypothesis focused on veterans depicted as being less socially involved compared to civilians
  • Analyses of variance tested each of our hypotheses across characters for each of the major variables
  • Results revealed non-military individuals displayed higher mental health scores (p = 0.001) compared to military characters, as well as lower social inclusion (p=.012)
  • ONET job complexity scores lower in military characters compared to non-military, though only marginally significant (p = .087)
  • Other popular media should be investigated further to understand negative stereotypes perpetuated and associated with military personnel

  • An existing database of comic book characters containing 370 characters was expanded to almost 500 characters for the purpose of this research
  • Collection process of data was online and book material analysis being broken down into several different categories. 
  • Categories range from demographic information, job complexity, mental health, physical characteristics, social inclusion, and military status.
  • Primary focuses on compiling data and analyzing mental health, social inclusion, and ONET job complexity scores between military and non-military characters
  • This has resulted in hours of combing through multiple source materials and qualitative data collection across a wide sample base of comic arts
  • ANOVA test was completed for data, results showed significant difference in mental health status between military characters and non-military 
  • Also a difference between social inclusion and O*NET scores, but not as significant

                  • Prediction 1: Characters with military experience will be coded as having lower mental health and social exclusion in their personal canon. 
                  • Prediction 2: Characters with military experience will be coded as having lower work complexity scores as rated by occupational titles (O*NET) in their personal canon. 

  • Characteristics of comic characters (N=452) pertinent to this study acquired through online databases, configured onto Excel sheet
  • Each character coded across mental health status, social inclusion, other character demographics (e.g., gender, ethnicity, immigrant status); coder agreement of κ = .862
  • Analyses of variance for testing of each hypothesis utilizing means across characters for each of the major variables
  • Mental health scale represented low=1, intermediate=2, or high=3 level of optimum; military standing differentiated by nonmilitary=0, military=1
  • Other variables: character role, socioeconomic status, occupation, morality, stage of trauma, quality of interpersonal relations

Conclusion

  • ANOVAs were performed on the of 452 characters to test predictions
  • First prediction was military characters will be coded as having lower mental health and social exclusion in their personal canon; analyses revealed military individuals scored lower on mental health (M=2.21; SD=.73) compared to non-military (M=1.88; SD=.84), F(1,451)=13.56; p=.001
  • Prediction was also supported for social inclusion, with military veterans (M=2.11; SD=.81) compared to non-military (M=2.47; SD=.80), F(1,239)=6.43; p=.012
  • Military characters had lower work complexity scores via occupational titles (M=3.12; SD=1.01) compared to non-military (M=3.43; SD=1.18), F(1, 327)=2.95, p=.087, confirming our prediction, although only marginally significant results

  • Military characters coded in the present study exhibited higher occurrence of maladaptive behaviors, thoughts, and relations with others, consistent with original hypotheses of lowered psychological health and instance of lower societal participation.
  • Results were similar for the occupational complexity of characters identified as military or ex-military, which was significantly lower than non-military characters coded
  • The depiction of comic characters in the graphic arts, supported stereotypes associated with deficiency in both mental health, social inclusion, and occupational competencies relative to nonmilitary individuals.
  • Although military experience seems related to types of jobs these individuals typically hold in the comic arts, this difference is only marginally significant and should therefore be interpreted with some caution
  • Absence of military status directly correlated with healthier psychological/social functioning and more abilities in the realm of work
  • The results overall confirm the predictions that military experience in the comic arts is associated with negative stereotypes associated with these individuals, even superheroes