WALNUT CREEK, Calif. (KGO) -- BART has unveiled five Bay Area-themed anime mascots, as part of their efforts to connect with young riders and increase ridership.
The Bay Area Council released results of a survey Tuesday showing safety is the main reason why BART is experiencing low ridership numbers.
Baylee the G.O.A.T., an anime character who is supposed to be a star online influencer based in the Bay Area, is one of the five mascots all created by artists in the Golden State.
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According to their website, BART says these mascots will help us in our mission to promote public transportation use, especially among youth riders, a growing and reliable ridership demographic.
It's an idea they got from public transit agencies in Japan, South Korea and Taiwan, which also use anime characters to connect with their riders.
I think it's kind of nice, Baker said. Because it's a part of the Bay Area that's not like expanding out more. When I was a kid, there wasn't like a bunch of anime stuff there, now I'm seeing anime stuff like everywhere which I think is kind of dope.
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I think if it gets people to ride BART more, that's great, I think it's a really good public transit system, Hare said. Honestly, I think that the thing that's the bigger sticking point is safety, people need to feel safe.
A Bay Area Council poll from earlier this month says 90% of former riders want to see more frequent cleaning, 79% would like to see better code of conduct enforcement and 73% would like to see more uniformed police on BART.
Changing one part, changing the promotion is not enough if you don't change the services, Ivan Fedorenko, a professor of marketing at Cal State East Bay, said.
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Fedorenko says while it is a fun idea that even his own kids would be interested in seeing, he thinks BART has bigger priorities that still need attention.
I think for a service like BART, keeping your current customers happy, keeping their business so they keep running with you is so much more important and so much more profitable than trying to attract the youth, one-time passengers, for one ride, he said.
All five of these mascots will make their debut from May 26 to May 29 at FanimeCon, an anime convention, in downtown San Jose at the McEnery Convention Center.On her way to school, Suzume rushes down the mountain road on her bikeand encounters Souta, a young man in search of a door. The 17-year-old high school student is immediately drawn to the mysterious stranger.Later, she finds out that he is traveling to abandoned places across Japanto find and lock doors to prevent a giantsupernatural wormfrom causing earthquakes.The two join forces to lock doors and keep the terrifying creature at bay.
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In his latest visually stunning film, director and screenwriter Makoto Shinkai explores the social effects of the Fukushima nuclear disaster. The anime came to Japanese cinemas last November and became a box office hit, becoming the country's fourth highest-grossing film of 2022. The movie competed at the Berlinale last February and premieres in German cinemas on April 13. It will be released in the USA and several other European countries on April 14.
Like Shinkai's other works, Your Nameand Weathering With You, it is a coming-of-age story. We learn that Suzume lost her mother in the 2011 Fukushimanuclear disaster. Raised by her aunt, she repressed the trauma of her mother's death.
Suzume flaunts her long shiny hair during her journey to self-discovery.She has elegant features and an impossibly slender figure. The same goes for her handsome counterpart. Even her aunt Tamaki looks like a teenager. The film fulfills clichédbeauty ideals.
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In these big, expensive productions, questioning whatappeals to the masses is inevitable, says Katharina Hülsmann, a research assistant in Japanese studies at the University of Cologne.
Her research includes transcultural phenomena in manga and representations of gender and sexuality. Yet the beauty ideals seen in Suzumeare not always found in the genre. Manga usually have a stronger subversive potential because there's not so much pressure to succeed in a single release, saysHülsmann.
The Japanese comic scene has helpedbreak down classic gender roles and is celebrated worlide for Its androgynous characters who have challengedtraditional images of macho men and women as accessories. They combat the traditional gender and family rolesthat are stillprevalent in Japanese society.
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Hülsmann explains that in comics released in Europe or the United States, female characters typically only as accessories to the story: Psychological themes, self-discovery, growing up, or being bullied did not appear in them. In this aspect, Manga culture has taken on a pioneering role.
Manga has been published in Japanese magazines since the 20th century. It is popular with girls and boys alike, though there is strict gender separation within the genre: Shōnen (boy)manga targetsmale audiences, whileShōjo (girl) targets young women.
In the 1950s, story manga — a new style of manga —became popular. The pioneer of this new style was manga artist Osamu Tezuka, referred to as the the Godfather of Manga. His series Princess Knight, (1953-1956), is among the first Shōjo manga.The Shōjo were also originally drawn by men, explains Katharina Hülsmann.
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It wasn't until the 1970s that also women began drawing manga. They revolutionized the genre, says Hülsmann, mentioning female illustrators such as Moto Hagio and later Rumiko Takahashi. They played with gender roles and created more creative comic panel boxes. Male editors vehemently criticized this until it became apparent that the stories and characters were also well-received by boys.
At the time, Western pop culture was also challenging typical gender roles; David Bowie appeared as the androgynous art figure Ziggy Stardust, whilein glam rock, bands made sexual ambiguity part of their style. The glam rock aesthetic definitely influenced manga culture, says Katharina Hülsmann. Female cartoonists increasingly used homoeroticism as a motif in the 1970s, she says.
These days, the strict separation between Shōjo and Shōnen is more flexible. Boys can enjoy Shōjo manga and vice versa. There has long been a variety of manga and anime for adults, and the international success of Japanese pop culture has also contributed to this. More than 100 anime series and films are currently available on Netflix alone. Conversely, globalization —and with it the viewing habits of other cultures and countries —has also promoted awareness of strong female charactersin Japan.
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Suzume, too, quickly evolves from a shy teenager following hercrushto a leader who asserts herself. This development, however, is nearly overshadowed by a beauty image that the advertising industry and fashion shows could be proud of — the size 0 heroine with a flawless complexion.
Early mangakas (manga artists) based their figure drawings on fashion sketches, and their style was also inspired by art nouveau, explains Hülsmann. These depictions have survived to this day, rendering a fantasy, an idealized image. While manga serieslike Wandering Son now focus on transgender characters, old rules still apply in a big-budget feature film targeting a broad audience says Hülsmann: A female main character is allowed to be the heroine, but she should also look good.Copyright © 2023, Los Angeles Times | Terms of Service | Privacy Policy | CA Notice of Collection | Do Not Sell or Share My Personal Information
Admirers of the gifted Japanese writer-director Makoto Shinkai will recognize his touch from the opening moments of his often entrancing new animated feature, “Suzume.” An affecting story about love and salvation, loss and memory, the movie opens on a dark-blue sky kissed by pastel-sunset pinks and purples, with stars that gleam like perfectly inlaid jewels. You might expect to see a fiery comet streaking past, much like the one that wreaked such beautiful havoc in Shinkai’s 2016 smash hit, “Your Name.” But the doom that looms here is of a different sort, rooted in somber memories of the 2011 Tohoku earthquake disaster, and realized in the form of a serpentine red monster, known only as the Worm, that portends yet another cataclysm in the making.
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The task of holding that monster at bay — of keeping this Worm from literally turning — falls to the unlikely figure of Suzume (voiced by Nanoka Hara in the Japanese-language version), a 17-year-old who’s cut from the same sweet-and-spunky cloth as numerous other anime heroines. Suzume unwittingly sets a potential cycle of destruction in motion when she stumbles on what looks like a door to nowhere but turns out to be a portal to a distant dimension known as the Ever-After. A born adventurer, Suzume is intrigued by what lies beyond the doorway, which seems to beckon to her like a half-forgotten dream. But that dream begets a nightmare when the Worm bursts forth through the portal like a furious airborne serpent, one that will cause an enormously destructive earthquake if it makes landfall.
In short order, Suzume joins forces with Souta (Hokuto Matsumura), a handsome young man of mystery armed with a magical key and mighty incantations, which help contain the immediate threat. Together they set out to seal these deadly doors all across Japan, from Suzume’s home island
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