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When the humiliated surrogate dad witnesses the sexual prowess of the tryst’s offspring, matters culminate in a finale worthy of the most bombastic Japanese tragedy.Yes, con does quite literally mean pedophile and loli a young girl, but in this case I’m talking about the genre of anime and manga.Īge in anime is literally just a number. The antics continue at a later date, when the married Pusu-o is cuckolded by an horny little birdie. Pusu-o’s own father is soon on hand to add insult to injury (the injury being the constant, gushing nosebleeds Pusu-o endures-the nasal blood geyser being Japanese cartoon shorthand for sexual frustration), and the cock blockage continues at Pusu-o’s new job as a car salesman-until a trio of older women misinterpret his advances, intended only to make the pretty Yukiko jealous. Not surprisingly, his sex life is an endless succession of obnoxiously over-the-top come-ons and maniacal attempts to get some action, all of which culminate in total strike-outs.
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More to the point, in matters of a romantic nature, Pusu-o conducts himself with an absolute lack of grace, restraint and general respect for women. Japanese society, in the opinion of Pusu-o, “satisfies all the urges of hunger, but not the urges of the loins.” Then again, Pusu-o is scrawny, awkward and hardly the handsomest guy in town. The most comprehensive English-language description of the film I’ve found is on the Fantasia Festival website: It was based on the comics of Yasuji Tanioka. No animated clips from this film exist online. Do It! Yasuji’s Pornorama (Japan, 1971)Directed by Takanori Miwa and Shinichiro Takakuwa.The chasm between Western and Japanese animation has never been more evident than in the feature animation category of this year’s Academy Awards: the four Western nominees are unmistakably geared towards children, whereas the sole Japanese contender, Hayao Miyazaki’s The Wind Rises, tackles challenging subject matter that acknowledges the intelligence of adult viewers. Japanese filmmakers, on the other hand, were just getting started, and they have continued to explore mature subject matter and themes to this day.
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The diversity of graphic approaches was impressive: some of the films made pretensions to high art ( Belladonna of Sadness) while others aspired to match the energy of underground comix ( Dirty Duck, Shame of the Jungle).īy the early-Eighties, the West disavowed their experiments with this type of content and returned its focus to producing safe family-oriented fare. Some of the films incorporated sexual content tastefully as part of a broader narrative, such as the Swedish animation/live-action combo Out of an Old Man’s Head (1968), while others like Once Upon a Girl treated their erotic contents as might be expected of a pimply fourteen-year-old hornball. For a brief decade-long period in animation history, between the late-1960s and late-1970s, feature animation filmmakers cast aside their inhibitions and created films that aimed to titillate and shock audiences with the novelty of sexual cartoon imagery.