If you’ve been reading manga or watching anime for a period of time now, you have probably watched, read, or at least heard of some kind of reverse harem anime/manga centered on a chosen teenage girl’s journey to gather a band of handsome young men. Perhaps most famous of this fantasy/harem genre is Fushigi Yugi, infamous for its helpless (and rather unlikeable) heroine, Miaka, who is made the victim of multiple attempted rapes for the sake of drama. Whereas other heroines in this genre have ultimately been limited to playing the kind girl who touches the hearts of her warriors while relying on them to provide her with physical protection, Yona of the Dawn offers viewers a refreshing twist to this well-worn path. As if to respond to these frustratingly helpless heroines both in and out of reverse harem manga/anime, Yona of the Dawn presents viewers with a tale about a heroine who does not accept her own helplessness as inevitable.
Yona, the heroine of this story, certainly starts out as a heroine you might expect to see in a reverse harem manga-turned-anime. When we first meet her, she’s a typical pampered princess with no political knowledge nor useful skills. Her only two interests seem to be her appearance and her beloved Soo-won, the sweet cousin who she has loved since childhood and dreams of marrying. Her other handsome childhood friend, a young general with a rough demeanor named Hak, guards her from physical harm while her father, the emperor, spoils her and shields her from harsh realities. In this environment, Yona turns to worrying about her romance, such as what Soo-won thinks about her hair. Helpless girl who’s greatest aspiration is romance? Check. Handsome men who give viewers both a sweet guy and a guy with a rough exterior? Check. Throw in the fact that Hak clearly harbors feelings for the oblivious Yona and that Soo-won obviously doesn’t understand Yona’s feelings for him, and you have the cliche love triangle at the foundation of the harem that is to be built.
This highly standard set up is subverted, however, when Yona witnesses Soo-won kill her father in a coup d’etat. The superficiality of the first episode shatters along with Yona’s sheltered world, revealing a much more complex one behind it as characters emerge from behind their simplistic roles. Relationships, too, take on more depth at the same time revelations and betrayal tear apart Soo-won, Yona, and Hak. Initially, the shock of losing her father and Soo-won leaves Yona a husk, and Hak must coax along and protect her as they escape to safety. Hak gets multiple chances to act as the helpless Yona’s protector, but rather than rely on its heroine’s weakness to provide Hak permanent knight-in-shining-armor status, Soo-won’s betrayal becomes Yona’s turning point. She snaps herself out of her depression, opens her eyes to the troubled reality of her country, and begins her journey to find her purpose in life. Furthermore, while many a heroine has feared losing loved ones, Yona actually does something to combat that fear, picking up the bow and arrow in order to gain the power needed to protect them even as she steadily gains more able-bodied men capable of protecting her.
Is her change a reaction to Soo-won, suggesting Yona to be yet another female character whose development rides on her relationship with men? Clearly, Soo-won’s actions spurred Yona into territory she would never have otherwise tread, and thoughts of Soo-won creep up on occasions, revealing that his betrayal is definitely on Yona’s mind. Nevertheless, the story thus far has done a good job of depicting Yona’s transformation as one that expands beyond Soo-won. Her transformation becomes a personal journey as her loss and sense of powerlessness turns into frustration over her helplessness and ignorance, and determination to change herself.
Of course, Yona still must largely rely on the men’s strength at this point in the story, but that doesn’t mean her determination to become stronger is an empty promise never to be realized. Some viewers may be impatient to see the steely Yona previewed in the opening and in the flashforwards shown in the first few episodes, but in this case, I think a slower paced change will prove more effective. If Yona just woke up one day a strong-willed woman, the change wouldn’t be as satisfying or as believable as watching her experience situations that cause gradual change. Granted, it’s a fine line between showing a character gradually change and pushing the viewer to frustration, but when executed right, seeing Yona’s struggle to change becomes one of her character’s strengths.
Speaking of building character, I appreciate that Yona wasn’t made into some magical prodigy who’s able to master the bow and arrow on the first try. Instead, the show depicts Yona’s struggle to wield her weapon, not only physically but also mentally. She can’t hit anything at first, but practices every night while her comrades sleep in order to improve her skill and strength, and she must mentally prepare herself to kill if she wants to use her weapon to protect her friends. The emphasis on Yona’s training shows the viewers Yona’s determination, and depicts her strength in a way that expands beyond the superficial example of strength as purely physical. (I also enjoyed that one of the male characters related to Yona’s struggle to become strong in the most recent episode! This kind of character development doesn’t just apply to female characters, after all.) If Yona of the Dawn keeps up this kind of crafting of its heroine, she’ll easily be one of my favorite heroines!
Lastly, the way the show has handled its male characters has been pretty satisfying so far as well. Obviously, the show offers a smorgasbord of good-looking guys, but it develops them beyond cardboard cutouts of various types of attractive men. Two perfect examples are Hak and Soo-won. With them, the story takes the staple male love interest types and complicates them, making the caring Soo-won into an antagonist with a logical motive yet controversial methods and Hak neither a mindless bodyguard hunk nor a lovable jerk, but a colorful childhood friend who has grown to love the princess. With any luck, the good characterization and relationships won’t get bogged down as more characters are introduced. Handsome boys are nice to look at, but a lot more enjoyable and interesting when they have actual personality. Of course, it’s also pretty amusing when the series acknowledges itself as part of, and pokes fun at, the reverse harem genre, inserting humor into the plot with characters who display awareness of their bit to play in the harem.
While the characters may seem stereotypical at first, the show seems determined to overturn those expectations. Watching the group come together, and the characters flesh out and evolve–particularly its determined princess–has become my weekly treat. With any luck, this series will keep up its excellence. Anyone who likes fantasies with character-focused journeys spiced up with a blast of breathtaking action and/or a heroine who won’t take her fate lying down should check out Yona of the Dawn. Watch it on Crunchyroll, Funimation, or Hulu.
I’m enjoying the hell out of this show. It’s not going to make best anime of the year or anything, but the writing is (perhaps surprisingly) solid, and I have to echo your sentiments – it’s fantastic to see a female lead who’s getting some long-term growth, and is characterised on her own terms despite being surrounded by an all-male cast. The lack of fanservice is refreshing to see as well.
Yes, writing can make all the difference, and this series has delivered very well on that point. I hope it keeps up as more characters enter the fray, and I must admit that I’m as excited as I am nervous to see how the series will handle the eventual confrontation between Yona and Soo-won. And I agree about the lack of fanservice. It’s wonderful to watch something without it being undermined by intrusive fanservice!
Hmm, maybe I should pick it up again. Just like you mentioned, the first thing I thought of when I started watching it was Fushigi Yugi and then proceeded to drop it after 10 minutes. But then again, maybe this just isn’t my genre…
The harem genre certainly isn’t for everyone, although I would still recommend giving this one a shot. As someone else commented, Yona of the Dawn so far hasn’t screamed reverse harem. It’s also quite different from Fushigi Yugi in all the right ways. I should warn you that it takes the first few episodes to get Yona set up on her journey, but that should give you an idea of the show’s writing and attention to character development.
Thanks for this article. I watched the first few episodes and didn’t realize this was a reversion of the harem-trope. Rather I was put off by the fact that she seem to become a Smurfette. I might give this a second try, though I think I’d still prefer more than one cool female character.
I was just thinking about the lack of female characters in this series after I wrote this post. It would definitely fail the Bechdel test, and that’s too bad because it’s presenting one of the best anime heroines that I’ve seen in some time. It would be great if another well crafted female character like Yona popped up in the series!
In an otherwise anti-feminist anime season, with shounen crap like Seven Deadly Sins and Cross Ange and shoujo tripe Wolf Girl & Black Prince, this series is really a shining beacon of light. There’s a cool old woman later in the manga that says something really inspirational, too!
Oh, I hope the cool old woman makes an appearance in the anime, too! Like you said, there just haven’t been too really great portrayals of female characters like Yona, and I’d love to see more inspirational female characters like her show up in the series.
I’m not actually getting a harem vibe from Akatsuki no Yona at all. I’m seeing this more as “warrior queen to be and loyal knights” without romantic overtones at all (possible exception for Hak).
The other aspect I’m really appreciating is Yona’s acceptance of the will of the gods vs Soo Yon’s explicit Screw Destiny viewpoint. That’s going to cause an interesting collision later I think.
Other than that, a great post as usual (and welcome back to posting!) about a show that really needs more attention than it’s getting.
Thank you! It’s interesting that you mention that Akatsuki no Yona doesn’t really come off as a harem anime. I would agree that the romantic overtones have been relatively subtle so far. We’ll see how things develop, but it would be nice if romance didn’t get overplayed.
Also, good point about the contrast between Yona’s and Soo-won’s approaches! I’m very curious to see how the series handles their inevitable reunion.
That WILL be interesting, and I hope it is handled in a subtle way that leaves room for both points of views.
Given the writing quality that Artemis pointed out, I’m reasonably confident that’s what will happen. 🙂
OK in the first 2 paragraphs you wrote reserve harem instead of reverse harem. Other than that an excellent post you have now made me go and watch Akatsuki no Yona.
Do you have any opinion on Vanadis? I’m enjoying some parts of that anime but I honestly wish it was just a war anime with intrigues and not also a fanservice show.
Thanks for pointing out those typos, and I’m glad to hear that I’ve convinced you to give the series a try!
As for Vanadis, I actually haven’t watched it. From your description of it though, it sounds like it suffers from the common problem of corrosive fanservice. In fact, I’m hoping to write a post on a series called Nobunagun that I feel has that exact problem.
What is corrosive fansevice? I don’t think I’ve heard the term before.
I just used the word “corrosive” to differentiate between fanservice that steadily intrudes on and undermines the portrayal of female characters and/or the narrative, for example, vs. fanservice that’s present in a show, but not highly distracting.
My wife and I both agree that _Yona_ is good value. It possibly owes something to _12 Kingdoms_ (mainly the 1st and third stories). It is also a gender switch of _Morabito_.
There are definitely aspects of Yona that remind me of The Twelve Kingdoms as well, which is perhaps one of the reasons why I like the show as much as I do. It’s hard to find series of the same quality. I can also see the similarities to Moribito. Both are excellent series for Yona to be compared to!
It’s something from nothing surely, but I strongly dislike how we get the male characters reimposing their protectiveness towards Yona. If only the silly shoujo lines were absent, too (“I want your body” etc). 12 Kingdoms it won’t be, yet it’s promising.
P.S.: The term “corrosive fanservice” is awesome! Let’s make it a thing if it isn’t!
I noticed that kind of protective behavior, too, and I must admit, it makes me a bit nervous. I suppose that extreme protectiveness, as well as those suggestive lines to which you refer, are part of the genre, but it would be nice if their protectiveness shifted to something more like camaraderie as Yona becomes more independent. Still, I’m pleased that Yona’s been able to continue making strides forward regardless of genre tropes, and I like that the male characters support and relate to her struggles for self-improvement despite their desires to protect her. Let’s hope that the series delivers and gives us a heroine who’s not only fully capable, but also recognized as such.
And I’m glad to hear that the term “corrosive fanservice” works! I’ll have to use it again.
Yes, there is a lot of protectiveness, but it seems that the show is getting ready to deal with it as is seen in episode 12, I think, where they get stuck behind the rocks. It’s going to be great to see Hak come to terms with Yona’s growth and strength. He’s going to have to reevaluate how he shows his love for Yona and his loyalty for her late father. It’s going to be hard for him because he is so believes in the patriarchal society.