Naruto: Nindo and Gender Norms

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In the imaginary and mythological village of Konoha, Naruto 's ninja
community reveals lifestyles very strongly marked by the virilistic commonplaces
of shōnen nekketsu . However, some complex figures seem to go beyond the
traditional gender binary, but at what cost?
The geopolitical situation of Naruto depicts a world given to permanent conflicts, where
each country ensures its power thanks to a village populated by entire families of ninjas
at their service. The hidden village of Konoha is home to the talents protecting the Fire
Nation. Each of his children takes the nindo , the path of the shinobi (old synonym of
ninja which means "to sneak" and designates these particularly discreet and skillful
mercenaries and spies), and among them the most recalcitrant and turbulent, Naruto, hero
of the eponymous manga , wants to become the strongest ninja to prove his worth. An
orphan despised and isolated from others at the start of his adventure, Naruto will find in
his friendships the power and support necessary to fulfill his dream and protect his loved
ones.
Literally, Masashi Kishimoto's manga belongs to the popular family of shōnen nekketsu ,
a genre which is based on the story of the initiatory journey of an honest young boy in a
quest for power and the fight against evil. To achieve his goal, the hero must demonstrate
extraordinary willpower, but his true inner strength will be revealed through the precious
support of his relationships encountered during the adventure. The values of the
collective are sacred in nekketsu (loyalty, solidarity, friendship), they are carried by
friends, but also by blood or chosen family. As a result, these stories include large
galleries of secondary characters. Those of Naruto are even found in its sequel: Boruto ,
the adventures of Naruto's son and the children of all his companions.
Despite a long narrative allowing the development of the protagonists, the writing of
Kishimoto's female characters is the subject of several controversies often denouncing
their lack of importance. More recently, a dialogue in Boruto canonically endorsed
the queer status of one of Naruto 's former antagonists : Orochimaru. If the news did not
necessarily displease fans, it echoed criticisms of stereotypes conveyed by the work
[1]. Although the drawn bodies are devoid of physical materiality, their staging by their
authors can effectively reproduce what Judith Butler calls “a gender performance”,
through the character design , the dialogues and the diegesis in which they intervene
[ 2]. In this article we will therefore conduct “sociocritical” analyzes of the narrative [3],
to decipher what Naruto can tell us about the gendered social norms of his universe.
The hidden village of child soldiers
Hidden villages such as Konoha are ruled by a kage , a powerful ninja appointed by the
leader of his country. The entire village population, with the exception of a noodle seller
who supports Naruto, is destined to become ninja. Unlike manga that use “multiple
borrowing” from various cultures to create worlds that are neither Japanese nor
Western[4], Naruto has a lot of Japanese references. Among these: the names of the
characters, the food ( ramen , dango ), accessories such as forehead or fishermen
headbands are similar to traditional clothing (hachimaki ) . Even more obvious, political
organizations (clans, lords, vassals) and ninja art derive directly from Japanese feudal
models. All of these elements give a palpable sense of familiarity with a retro-futuristic
Japan. Here we will focus on an aspect of the story more subtly linked to Japanese
society: the ninja educational framework.
Masashi Kishimoto, Naruto , volume 2, Kana, 2002, page 36. NARUTO © 1999 by
Masashi Kishimoto / SHUEISHA Inc.
The ninja school, an elitist system...
The children of Konoha must pass exams to climb the first two ninja ranks: Naruto
begins his adventure at twelve years old, with unusual difficulty in passing the beginner's
test because his true strength is not yet revealed (and it is a dunce). Alongside his
precious friends (Sakura and Sasuke), the second exam is taken in teams of
three. Merciless, it can lead to the death of its young participants. The fights between
aspirants reveal the internal conflicts between the various clans and are also valuable to
the narrative in depicting a varied range of ninja techniques specific to each
character. The generation of shōnen authors of which Kishimoto is a part grew up in the
context of an ultra-competitive and normative educational policy, where schoolchildren
can take exams from kindergarten to gain access to good secondary schools. The rivalry,
the sequence of fights and the excessive training in nekketsu recall this school
atmosphere and its myriad of tests[5]. Fortunately, Naruto denounces the isolation
produced by over-normative systems addicted to performance: Gaara, for example, after
being used as a child to become a super-powerful human weapon, becomes evil because
of the solitude he suffers. The series above all promotes solidarity despite the
omnipresent competition.
The real strength of the characters is explained by the text and the images: it is the
relationship with others. Nevertheless, the warlike environment of a nekketsu naturalizes
the ideology of surpassing oneself at any cost, particularly among its male heroes. The
character of Rock Lee is a perfect example, cruelly lacking in predispositions
for ninjutsu (ninja combat sport), this young boy has nevertheless become accustomed to
making the most extreme choices in the objective of becoming a great shinobi . During
his second exam fight, Rock Lee uses techniques dangerous to his physical integrity
which will cost him the use of his limbs. In the hospital, he will not stop his training
despite the deterioration of his condition, and will accept a fatal medical operation in
order to recover his physical abilities to pursue his dream.
Rock Lee's determination is paralleled with that of the hero Naruto, because the latter
regularly becomes a model of personal surpassing for his friends. However, the saga
reveals quite quickly that Naruto possesses a phenomenal power within him conferred by
a fox demon (Kyuubi) locked inside his body. Naruto is frequently compared to his
father, the fourth valiant kage of Konoha village. Several Konoha kage have a family
connection to one of the previous kage . These plot points cause the apparent
meritocracy of the ninja system to waver towards a more deterministic reality: a filial
inheritance and an extraordinary birth gift favor our hero. The character of Rock Lee,
once healed, will gradually fade away over the pages.
...And sexist?
On the face of it, Naruto has some positives in terms of female representation. There are
many girls and women, they are all kunoichi (ninja women). The manga never presents
them in fan-service situations or in hypersexualized outfits. On the other hand, their role
within the scenario raises questions. From the first chapters of the manga, Sakura, the
main heroine, is recognized by their master as much more gifted than them in the
mastery of ninjutsu , but devoid of a hidden strength that her companions Naruto and
Sasuke possess and which will make them exceptional ninja. Moreover, although present
throughout the chapters, the kunoichi take part in fewer decisive confrontations than the
boys, and have drastically fewer lines of dialogue [6]. On several occasions, Sakura
laments her lack of usefulness to her male peers. Hinata (in love with Naruto) and Sakura
(in love with Sasuke), display their abilities when they are motivated by the feelings of
love and admiration they have for their male companions in order to be worthy of them
or to save. The most powerful adults are single: Tsunade, who lost the love of her life, is
one of the two rare female kage in the series, but she will abandon this position. The
mother kunoichis are invisible in Naruto , either they are deceased like that of the hero,
or invisible. One of them, Kurenaï, disappears completely after becoming a single
mother following the death of her companion. We also note that the specialists in
medicinal ninjutsu (ninja techniques specialized in healing wounds) are mainly women
(Tsunade, Sakura, Karin). Housewives, caregivers, strong and determined but less special
than men, very loyal lovers (Sakura's love for Sasuke will not weaken despite his lack of
reciprocity and despite him trying to kill her), the kunoichi hold a resolutely gendered
social function and conform to a patriarchal organization. This observation may resonate
with the lives of modern Japanese women. These women, the majority of whom are
included in the job market, are still under very strong pressure to meet social
expectations: marriage and exclusive devotion to caring for the home are expectations
anchored by the Ryōsai Kenbo ideology (“good mother, good wife") [7]. However, the
importance of educating young people and their confidence in the future are among the
concerns of both the men and women of Konoha[8]. This emphasis on the home
in Narutoalso allows us to read more cynically the interest in the perpetuation of
generations, because without it the villages would empty of military recruits.
Orochimaru the villainous queer
Elder shinobis often speak of the cruelty of their conditions as human weapons doomed
to inevitably losing their loved ones. To make this warlike universe acceptable, it is
important to define the limits of good and evil, fair and unjust fights, good ninjas and
immoral ninjas.
One of the most despicable characters in the manga is Orochimaru, he stands out from
other shinobi in many aspects. Having developed a forbidden technique, Orochimaru can
steal the body of others. He uses it in order to rejuvenate himself, his physiognomy is
then close to that of a young girl, so, even in normal times, he retains feminine
aspects. His character design and his powers are sprinkled with references to his totem
animal: the snake. One of its transformations into a long reptile with a human head is
reminiscent of the female yokai nure-onna . With the exception of young Haku, he is the
first androgynous fighter introduced in the series. Orochimaru has long black hair,
excessively white skin and purple makeup around his eyes that could be compared to
makeup, he also wears earrings and long tunics. Of a decidedly evil and cunning
character, he repeatedly manipulates young ninjas to achieve his goal: obtaining an
immortal body. This objective of absolute power and superpower is a commonplace
among villains, but Orochimaru's dream of eternal life pushes him to want to appropriate
only the bodies and power of adolescents: Kabuto, Kimimaro then Sasuke (we can also
mention Anko who was the first enlisted but of whom he got tired). Orochimaru's
objective can be compared to a narcissistic desire for eternal youth, a goal normally
specific to villains. This misogynistic cliché of obsession with youth and beauty is found
in the writing of several feminine archetypes and has a transcultural impact. Bad
mothers, jealous of their daughters' beauty and ready to kidnap and kill to obtain it, are
depicted in Western culture (Snow White, Disney's Rapunzel) and also in
Japan. In Baptism by Kazuo Umezu, a former actress, desperate at the idea of losing her
beauty, decides to transfer her brain into the body of her still-child daughter so as not
to age . Paradoxically, the desire for eternal youth in manga is also found in positive
characters: Tsunade from Naruto and Biscuit from HunterXHunter , both sacrifice part of
their magical energy to maintain a young and beautiful appearance. In this specific case,
it is the personal sacrifice (of their strength) which allows them to keep a pretty
physique, they are weakened, where Orochimaru and the bad mothers use violence
towards others to obtain their youth and gain in power. By his effeminate physique
(which is emphasized in the anime by the Japanese and English dubbing done by
women) and his aspirations, Orochimaru is a so-called queer coded character .
Cinema queers
The concept of queer coding has roots in the history of cinema. In 1930 the rules of
moral censorship of the Hays Code fell on Hollywood, they prohibited/had prohibited in
particular all immoral and seditious representations on screen, including
homosexuality. This ban will give rise to circumvention tricks. Even if its formal
application ceased in 1968, the practice of queer-coding will continue in the writing of
LGBTQI+ representations. A queer character must not be openly visible, we therefore
use stereotypes showing deviations from the heterosexual norm to signify
his queer character , contemporary productions have been able to play on this [9]. In
Disney cartoons, several villains have been intentionally queer-coded by gay animator
Andras Dejas, they are manicured, mannered and narcissistic (Jafar from Aladdin , Scar
from The Lion King ). These bad guys can shoulder the weight of “gender immorality”
without causing scandal, whereas the good guys are required to correspond to the
gendered social expectations assigned to them. Gender subversion is linked to moral
subversion in a heterosexual patriarchal society, and we thus find many controversial
representations of LGBTQI+ people in our cultural media.
Japan is a country with its own definitions and constraints specific to the gender binary,
but its cultural history also includes important subversive figures of it. At the time of
feudal Japan, the No theater (14th century ) then the Kabuki theater (16th century ) had a
tradition of having men play women's roles, the onnagata , who must perfectly simulate
the eroticism of geisha. The Tale of Genji (11th century ) also focuses on characters whose
androgynous beauty moves the hearts of men and women alike. During the Edo period,
the images representing these pretty boys on prints were intended for everyone, they are
the ancestors of the current “bishōnen” (handsome young man) imagery in manga
[10]. The androgynous characters are not necessarily evil, on the contrary they convey
positive stereotypes that are both feminine and masculine (Oscar in The Rose of
Versailles , Shun in Knights of the Zodiac ). But their fluidity cannot be understood in the
same way as a modern idea of non-binarity, most are very young and are allowed to carry
within themselves a form of ephebe ideal distant from queer realities . There is only one
other explicitly effeminate character in Naruto , Haku, but he is a teenager and his
youthful appearance contributes to his androgyny, we can therefore assume that he does
not feminize voluntarily, his femininity allows a dualistic contrast between his values
peaceful and his obligation to live a life of appalling violence which will lead him to a
sad end.
Haku too quickly buried
Haku dies at fifteen years old while protecting his master Zabuza, an antagonistic ninja
(chapter 29). Just like Orochimaru's minions (Sasuke, Kabuto), Haku has a vassal
relationship with his lord, he is devoted to Zabuza who benefits from it, where
Orochimaru objectively manipulates the dark side of Sasuke to put him at his
service. Ultimately these two adults use teenagers as weapons to fight, but Zabuza will
be repentant: he is killed and mourns the loss of Haku at the time of his death. Haku dies
protecting his beloved master, which could bring his ending closer to the "bury your gay"
trope.[11] Even if their asymmetrical relationship is criticized by the other characters
(Naruto protests against Zabuza's manipulation), the conclusion of their story is intended
to be touching. Orochimaru, unlike many antagonists, does not have big scenes where we
can feel sorry for him. His past as an orphan child is quickly evaded, and his late
rehabilitation in the story as a neutral character is difficult to understand[12]. He never
shows remorse for his actions, he is the incarnation of a devious and sociopathic being
who got stuck on the path of evil to achieve his ends. The immorality of Orochimaru's
character is aligned with the transgression of his gendered social role: he represents a
deviant masculinity degraded by femininity, he responds both to the clichés of the villain
with an ambiguous and psychologically unstable gender, and to the predatory
homosexual[13]. These stereotypes, recognized in cinema, have similar imprints in
manga (Dilandau in Vision of Escaflown) [14].
Masashi Kishimoto, Naruto, volume 4, Kana, 2002, page 115. NARUTO © 1999 by
The way of the nindo: marriage in the village?
The ninjas of Konoha are ready to do anything to defend their village and its
inhabitants. The tragic conflicts that punctuate its history make the harmony of the
community essential. The manga's conclusion symbolically ties the idea of peace to the
prism of marriage and the founding of a nuclear family. Sasuke, once freed from his
desire for revenge against Konoha, will partially return to his family and marry Sakura
with whom he will have a daughter. Birth in nekketsu is a common theme linked to the
story of transmission (master/disciple). In Dragon Ball, most of the protagonists, even
the least inclined towards love (Vegeta), have offspring with their partner/wife. Perhaps it
is not insignificant to note that in Naruto , Orochimaru, the only queer coded character ,
will have a single child (created by his powers in Boruto) . If romance is rather absent
among boys (the only explicit dialogues on romantic feelings are those of
girls), Naruto emphasizes the importance of collective life and the disastrous
consequences that can result from a society that neglects personal development of
individuals. This philosophy common to many mangas thumbs its nose at the famous
Japanese motto “deru kugi wa utareru”: “the nail that sticks out calls the
hammer”[15]. However, the positive nonconformism of the Konoha hero has difficulty
extending to all his comrades, and certain values seem anchored in very traditional social
patterns (marriage and the heterosexual family). By leaving the kunoichi the major
missions of protectors, devoted wives and mothers and the most unsympathetic role to
the only queer coded character , Naruto reflects the time and the society in which the
work was written. The assignment to marriage and the home is still very significant in
the social obligations of Japanese women, and if people with fluid gender identities can
make careers in popular media, the progress of LGBTQI+ rights is far from being
acquired in the archipelago [16]. Despite everything Naruto wants to carry positive
messages that have universally affected fans from all countries, we can only hope that
the determination of the next generations of Konoha will lead the ninjas towards an even
more progressive nindo .
References
1 Danny MacLaren, “Non-Binary Orochimaru and the homophobic legacy of queer-
coded villainy”, https://www.animefeminist.com/non-binary-orochimaru-and-the-
homophobic-legacy-of-queer-coded- villainy/ , animefeminist.com, 2021.
2 - 14 Deborah Gay, “Vision of Escaflowne: the androgynous antagonist as disruptive
potential, Freaks of all kinds: mutant bodies, cyborgs, metamorphoses & fantastic”, in
Karine Espineira (dir.), Freaks of all kinds: mutant bodies , cyborgs, metamorphs &
fantastic , Open éditions Journals, Presses universitaire de Bordeaux, 2020.
Online: https://journals.openedition.org/ges/1022
3 Valérie Harvey, “Martial arts. Between teaching and intervention, The representation of
Japanese values in the Naruto manga”, in Olivier Bernard (dir.), Martial arts. Between
teaching and intervention, Les Presses de l’Université Laval, 2019,
p.75. Online: https://www.researchgate.net/publication/330541534_La_representati
on_des_valeurs_japonaises_dans_le_manga_Naruto
4 Jean-Marie Bouissou, Manga: History and world of Japanese comics , Philippe
Picquier editions, 2013, p.275.
5 Pierre Lovati, “The J-Rpgs heirs of the Japanese education system, immersion
review”, in Mohamed Megdoul (dir.), Immersion n°7 Japanese Adolescences , May
2023, p.76
6 Giancarla Unser-Schutz, “Redefining Shōjo and Shōnen Manga Through Language
Patterns”, in Jacqueline Berndt, Kazumi Nagaike, Fusami Ogi (eds.), Shōjo Across
Media, Exploring “Girl” Practices in Contemporary Japan , palgrave macmillan, 2019,
p .49
7 Leni Tiwiyanti, Yulia Sofiank Zaimar, “Representation of Gender Ideology in Hinata
figure, Naruto Shippuden film”, in Siti Nurani (dir.), Scope Journal of English language
teaching , 2020,
p.87. Online: https://www.researchgate.net/publication/351173715_The_Representat
ion_of_gender_Ideology_in_Hinata_Figure_Naruto_Shippuden_Film
8 Valentina-Andrada Minea, “The Feminine Type Of Discourse As a Solution For
Interreligious Harmony: a case study of Naruto”, in Iulian Boldea (dir.), Literary
iscourse today dialogue and multiculturalism , Arhipelag XXI Press, Targu Mureş, 2022,
p. 156.
Online: https://www.researchgate.net/publication/368636855_The_Feminine_Type_
of_Discourse_as_a_Solution_for_Interreligious_Harmony_a_Case_Study_of_Narut
o
9 Tom Flanagan, “The lasting legacy of queer-coded Disney”
villains, https://www.catawiki.com/en/stories/6261-the-lasting-legacy-of-queer-
coded-disney-villains , catawiki. com, 2022
10 Sirpa Salenius, “Destabilizing gender, gender diversity in Japan”, in Sirpa Salenius
(dir.), Gender in Japanese Popular Culture Rethinking Masculinities and Femininities ,
palgrave macmillan, 2023, p. 10. Online: https://link.springer.com/book/10.1007/978-
3-031-12942-1
11 “Bury Your
Gays,” https://tvtropes.org/pmwiki/pmwiki.php/Main/BuryYourGays , tvtropes.org
12 “How the fuck does Orochimaru become a good guy
after...” https://www.fanverse.org/threads/how-the-fuck-does-orochimaru-become-
a-good-guy-after.1015637/ , fanverse.org, 2014; “So how/why did Orochimaru become
a good
guy..? », https://www.reddit.com/r/Naruto/comments/10et42o/so_how_why_did_oro
chimaru_become_a_good_guy/?rdt=41318 , 2023
13 “Sissy Villain,” https://tvtropes.org/pmwiki/pmwiki.php/Main/SissyVillain ,
tvtropes.org “Main Depraved
Homosexual,” https://tvtropes.org/pmwiki/pmwiki.php/Main/DepravedHomosexual
, tvtropes.org
15 Marius Chapuis, “Himizu, the young
peril”, https://www.liberation.fr/images/2020/09/04/bd-himizu-le-peril-
jeune_1798580/ , liberation.fr, 2020
16 Marie Rabin, “In Japan, LGBT rights are still
violated”, https://www.humanite.fr/monde/japon/au-japon-les-droits-des-lgbt-
toujours-bafoues-800667 , humanite.fr , 2023

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