If in Naruto, for instance, we have a lot of female characters that, albeit strong, fit into the norm of being bridges to men in their journeys, for instance, which happens a lot, even with strong female characters in typical shonen adventures, in Romantic Killer, the deconstruction of gender norms starts precisely within a context in which Anzu allegedly needs to help the future of Japan by falling in love, getting married and having children – the “traditional” role of women in society. Despite having considerably eased, these norms are forces that still maintain a strong grip and influence on the patterns of social behavior to which both women and men feel obligated to conform.
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From “Supporting Character” To Supportive Character
Romantic Killer ends up subverting the premise and this trope, but what is even better is that it turns around the overused trope of women serving as bridges for men to grow up, and takes the “Power of Friendship” trope to another level, with Anzu herself, the boys, her female best friend, and even the magical girl Riri (girl or entity, because “she” is both male and female).
Rather than define them, their friendship helps them grow as individuals. Rather than limit women to the role of supporting their fellow men in their coming-of-age stories, Romantic Killer’s main character, Anzu, connects with all of them, in an anime that encapsulates even the fluidity of gender identity, while hinting at the possible same-sex love interest, taking friendship as the helm and eliminating the angst between the sexes that used to, and to some extent, still does, characterize a world in which women’s roles are, thankfully, drastically changing and transforming the social landscape for the better.
In Japan, a country that is relatively conservative and collective-oriented, where social expectations usually put powerful pressure, mainly on women, to conform to traditional standards of behavior, including gender norms based on common stereotypes established eons ago, of men as the breadwinners and women as housewives, anime like Romantic Killer are more than welcome, and the inversion of gender roles, if not blatant, are at least subliminally explored.
Goodbye, Gender Norms!
Anzu’s cooking is terrible. Tsukasa scolds her for her poor cooking craft, but never says that women should be good at cooking, according to the belief arisen from the unwritten gender norms. His cooking, on the other hand, is amazing, and Anzu is delighted with the food he prepares. Romantic Killer thus reinforces that knowing how to cook and preparing good or bad food are not gender-specific. According to the perception of the traditional lens, Anzu is very unladylike and can be even considered a tomboy, a feature exacerbated by her love of video games, which are traditionally considered to be the realm of boys.
Even with social liberalization and economic change taking over Japan in recent times, and with women more and more entering the workforce, how women are treated by men is dictated not only by female gender norms but also by the social factors that are determinant in male pattern behaviors. Since entertainment helps mold the minds and actions of people who consume them, it is very welcoming to have these norms defied, and Romantic Killer nails it.
Stepping outside of gender norms, focusing on friendship and individual growing up instead of using the women as support, thus giving them individual importance and roles, not only collective, Romantic Killer goes against the usual messages spread about gender norms and brings joy and light in modern quite dark times when there is strong resistance to more powerful changes, which can be seen in the refusal from Japan as a country to legalize same-sex marriage.
Enter Friendship
One could state that Tsukasa only learns how to deal with his stalker and act as what he is, a victim, because of Anzu. That Hijiri only starts working and valuing simple things also because of her. Junta started playing baseball because of his friend said he would be great at that sport, which she said based on his qualities, and that is the main point here — friendship. Through their interactions and human connections, the characters evolve, and that is seen even in Riri, and Anzu is affected too, so, the latter cannot be considered a bridge or catalyst for changes, but growing up through friendship, instead of the overused “supporting female” role, is what helps the individuals change their lives for the better. All of those involved are therefore empowered, not only women, and this representation in fiction is a fight better to never be abandoned.
When people grow up with their friends, instead of using them as props for personal growth, society has a lot more to gain, as well as individuals. Since behavioral expectations are usually seen more as unspoken rules than textbook-like guidelines, and people often show severe discomfort, even more in Japan, which has a collective-centered society.
For all these reasons, messages, and elements, Romantic Killer and similar works of fiction, especially anime, do a great job of moving and provoking viewers, stimulating them to work through some contemporary issues.
It is both reassuring and a wisp of fresh air to have more and more works of fiction tackling with these important contemporary themes, since they shall contribute for the long-term deeper change in this old-fashioned roles, and, even if, with baby steps, Romantic Killer is greatly contributing to said expected changes in real life.
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