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As kids, we grew up with an array of cartoon characters that were playful, innocent, and sometimes a little rebellious. These characters have left lasting memories, even though we might not have realized at the time how they occasionally sparked heated debates among adults.
10. The Surprising Origins of Hello Kitty
In 2014, Hello Kitty, the beloved cat-like character, sparked a controversy when her creators at Sanrio revealed that she wasn’t actually a cat at all. Instead, they described her as a British girl living in London with her family.
“She is not a cat,” anthropologist Christine R. Yano explained to the LA Times while discussing how Sanrio clarified her role for a retrospective. “She’s never shown walking on all fours. She moves and sits like a bipedal creature. However, she does have a pet cat named Charmmy Kitty.”
The concept for Hello Kitty is said to have emerged in the 1970s, a time when many Japanese people, especially women, were enchanted by the allure of British culture. The revelation that Hello Kitty wasn’t a cat left many international fans in disbelief, with some refusing to accept the news.
But that wasn't the only odd controversy surrounding the character. An enduring online rumor suggests that Hello Kitty was created as a tribute to Satan, by grateful parents of a child who supposedly survived mouth cancer after a divine intervention by the Devil. This story also ties into the fact that Hello Kitty is typically shown without a mouth, though the company has explained this was simply a design choice that allowed fans to project their emotions onto the mysterious cat.
There have even been ridiculous claims that the Chinese word for ‘demon’ translates to ‘kitty,’ which is entirely false. Another bizarre theory suggests that Hello Kitty was originally the mascot of a nuclear power plant, and her popularity led people to forget this supposed connection. This theory also links to earlier beliefs that Cabbage Patch Kids were meant to symbolize human deformities caused by radiation exposure.
9. Crayon Shin-chan’s Irreverent Behavior
The Japanese cartoon character Crayon Shin-chan is notorious for his crude, inappropriate, and often disrespectful behavior, which includes asking the elderly, 'When are you going to die?' While adored in Japan and across much of Asia and Europe, Shin-chan has faced criticism from conservative and puritanical groups.
In 2014, the Indonesian Broadcasting Commission labeled the popular children's show as 'borderline pornography' due to Shin-chan’s frequent behavior of exposing his buttocks and performing his infamous 'Mr. Elephant' dance, which revealed his genitals. The commission also criticized the show for its portrayal of scantily clad women and inappropriate scenes. They demanded that the network airing the show either remove the controversial moments or air them at a later time when young viewers wouldn’t be watching, but the network refused to comply.
The show has faced similar opposition in other countries, including India, South Korea, and Vietnam. In India, concerns arose about the impact of Shin-chan’s behavior on young audiences. Clinical psychologist Rajat Mitra conducted a study where children aged three to five were exposed to the show, and their behavior was monitored. 'Shin Chan shows you can be smarter than adults and even fool them,' Mitra explained to The Times of India. 'His naughtiness is exciting and gives kids a sense of high by which they can become equal to adults.'
In 1998, India’s Ministry of Information and Broadcasting banned the show for promoting values deemed anti-Indian. However, a censored version of the program eventually returned to the airwaves.
8. Captain Planet and Lucifer
Some conservative Christian and Mormon groups claim that the 1990s environmental-themed cartoon, Captain Planet and the Planeteers (and its sequel, The New Adventures of Captain Planet), is an example of occult indoctrination aimed at children. They argue that the earth spirit Gaia, who provides the planeteers with magic rings to summon Captain Planet, is a disguised representation of Lucifer. According to these groups, Gaia is worshipped by occultists.
The magical powers of the five planeteers, who summon Captain Planet using their five rings, are often interpreted as a symbol of children's collective will to invoke Lucifer. The beams of light emitted from these rings are likened to traditional Satanism, where occult practitioners channel power through their hands or fingers. The villains, who symbolize environmental destruction and pollution, are seen as exaggerated representations meant to normalize the concept of a global Satanic New World Order for the supposed greater good of the planet.
An unrelated controversy arose from the 1992 episode 'A Formula for Hate,' which examined the dangers of spreading misinformation about AIDS. LGBTQ activist Taylor Cole Miller asserts that the show included subtle references to a pro-gay agenda, designed to cater to gay viewers without drawing attention from those opposed to such themes.
7. Calvin And Hobbes And Clickhole
The beloved comic strip Calvin and Hobbes, created by Bill Watterson, often found itself embroiled in controversy. The strip, which centers around the mischievous boy Calvin and his possibly imaginary tiger companion Hobbes, gained attention for Watterson's refusal to license his characters for merchandise such as T-shirts or mugs. Despite Watterson's determination to protect his artistic integrity, his syndicate was adamant that they could license the characters without his approval.
During the dispute, counterfeit T-shirts and car decals featuring Calvin urinating became widely available, but no official merchandise was ever produced. Eventually, Watterson considered walking away from the comic strip, knowing that the syndicate could license the characters to more agreeable creators. Fearing the loss of the strip's original creator, the syndicate eventually conceded, and Watterson emerged victorious.
A controversy arose when subscriber newspapers debated the Sunday comic format. While many were eager to reduce the space allotted for comics, Watterson insisted on a half-page for his comic. Other cartoonists criticized him, calling him a prima donna over the issue. Ultimately, a compromise allowed newspapers to shrink the comic to a quarter page if they wished, but many opted to keep it at half a page. Some believe this decision marked a golden era for the Calvin and Hobbes strip.
In 2014, Clickhole, a subsidiary of The Onion, released a controversial video titled 'If You Grew Up With ‘Calvin and Hobbes,’ You Need to Watch This Now.' The provocative video featured Calvin and his possibly imaginary tiger companion engaging in sexual acts. Though intended as a twisted satire of childhood nostalgia, the video breached US laws on child pornography, which extend to comics and cartoons. These laws prohibit depictions of explicit sexual conduct involving minors, even when the genitals or pubic area are not shown.
It remains unclear if the Clickhole video meets the legal definition of obscenity or if it can be defended under cultural or artistic value. However, a strict reading of the law might classify it as child pornography. As a result, the video was promptly removed from YouTube due to these legal concerns.
During an interview with Fast Company, a Clickhole editor offered a vague defense of the video: 'We were aiming to explore nostalgia from a unique perspective. Ultimately, some people liked it, while others didn’t. It's common for anything in the Onion universe to provoke such diverse reactions.'
6. Uderzo's Asterix
Asterix, one of Europe's most beloved comic book characters, hails from a small Gaulish village that successfully resists Roman domination, thanks to a magical potion brewed by the village druid, Getafix. The original comics were renowned for their witty puns (which had to be adapted for each language translation), entertaining plots, and satirical depictions of various ethnic groups through ancient cultural analogies.
The Asterix comics were penned by René Goscinny and illustrated by Albert Uderzo from 1959 until Goscinny's death in 1977. Afterward, Uderzo continued to create Asterix comics on his own, but they were often regarded as inferior to the duo's collaborative work, sparking a fair amount of controversy.
The final Asterix book created by Uderzo was Asterix and the Falling Sky in 2005. This edition received criticism for introducing unusual elements, such as aliens and superheroes, that seemed to be influenced by American and Japanese comic styles and tropes.
The book also drew attention for its apparent anti-Bush and anti-American sentiment. The superheroes in the story were led by a dictator named 'Hubs' (an anagram of Bush), and the alien invaders, styled in anime fashion, were depicted as hostile beings wearing cockroach-like armor with vague martial arts skills. Long-time fans criticized the comic for its simplified art style and its bizarre, outlandish themes.
After Uderzo's retirement in 2009, a legal dispute erupted between his daughter, Sylvie, and the comic's publisher regarding whether new writers should be allowed to take over the Asterix stories, even though Uderzo had agreed to the idea. In 2013, the first comic created by a new author/illustrator team, Asterix and the Picts, featuring Scottish satire, was released. Sylvie Uderzo had written an open letter in Le Monde in 2009, asking Asterix fans to help protect the character from his 'worst enemies: the men of industry and finance.'
5. Racist Tintin
Tintin, the Belgian comic hero, was a daring young reporter who traveled the globe, even reaching the Moon. However, several of his adventures have been criticized for their racist and condescending portrayal of nonwhite people. Some attribute this to the shifting cultural views of the comic's creator, Georges 'Hergé' Remi.
This issue was particularly evident in Tintin in the Congo, published in the 1930s, which depicted the native Congolese as naive and subservient. One female character, for instance, bows before Tintin, saying, 'White man very great. White mister is big juju man.' As a result, some European bookstores have placed the book on higher shelves. Despite calls for it to be banned by Congolese immigrant Bienvenu Mbutu Mondondo and the Belgian Council of Black Associations, a Belgian court ruled against the ban, describing the work as containing 'gentle and candid humor.'
Modern Congolese have varied opinions on the comic. Some view it as overtly racist, while others defend the character as still beloved. Artisan Auguy Kakese, who produces Tintin statuettes, remarked: 'It's humor, it’s not racist...for those who say it’s racist, I say that in the comic strip, you never see images which show him trying to kill the Congolese.' Others, however, feel the comic reflects the painful legacy of Belgian colonialism in Congo.
Other Tintin comics have faced similar controversy for their portrayal of various ethnic groups. The Shooting Star originally depicted Jewish debtors and an American financier named Blumenstein as villains, while Land of Black Gold featured Jewish terrorists led by a rabbi, both of which drew criticism for anti-Semitic content. Tintin in the Land of the Soviets was criticized as blatant anti-Soviet propaganda, and The Blue Lotus negatively portrayed the Japanese.
Tintin in America portrayed Native Americans in a manner that reflected outdated 19th-century stereotypes, even though the story is set in the 1930s. The comic contained offensive terms like 'paleface' and 'squaw.' Remi later expressed regret for these representations, calling the Congo storyline a 'youthful sin.' Many believe that these portrayals were the result of ignorance rather than malice. Despite being sympathetic to native peoples as 'underdogs,' Remi was a naive person who had never left Europe when he began drawing his iconic comics.
4. The Perpetual Copyright of Mickey Mouse
When the Copyright Act was initially introduced in 1790, it provided protection for just 14 years, with the possibility of one renewal if the original creator was still alive. Today, copyright can last for up to a century. Some argue that the expansion of copyright laws has been driven by Mickey Mouse, and Disney's desire to retain control over the character. Upon Mickey's debut in Steamboat Willie in 1928, copyright law allowed for a maximum of 56 years of protection, which would have expired in 1984 for Mickey if not renewed.
The influence of Disney may have contributed to the passage of retroactive laws in the 1970s that extended protection for an author's life plus 50 years. This legislation extended Mickey's protection until 2003. In 1998, the law was again amended to grant protection for the life of the author plus 70 years, extending Mickey's copyright until 2023.
Many people are dissatisfied with these continual changes, arguing that they prevent future generations from building on cultural works from the present (though South Park seems untroubled by this, as shown in the video above). Regardless, Disney will likely continue to fight for control of its beloved mascot.
Walt Disney's determination to keep Mickey under his control can be traced back to his personal experience with Oswald the Lucky Rabbit, the first major Disney character he lost control of to distributor Charles Mintz. Mickey Mouse, a product of Oswald’s redesign, retained much of the rabbit’s traits and behavior. Initially named Mortimer, Mickey later became a beloved character in his own right.
Mickey Mouse, originating from turbulent beginnings, has faced numerous controversies over the years, including his early depiction in comic strips that would be deemed offensive or cruel today. These instances included exaggerated suicide attempts in reaction to Minnie Mouse’s romantic involvement with another man, clashes with opium traffickers, and a homophobic attack on a flamboyant cat character, during which Mickey insults another presumed gay character with the derogatory phrase “big cream-puff inhaler.”
3. The Censorship of Betty Boop
In the 1930s, Betty Boop emerged as a standout character from Fleischer Studios, joining the ranks of Popeye and Superman in competition with Walt Disney’s creations. Originally introduced as the dog Bimbo’s girlfriend in *Dizzie Dishes*, she eventually evolved into a human character by 1932, adopting her famous name. Known for her provocative cartoons, Betty sported a short skirt and revealing dress, often seen coming undone.
The 1920s marked a time of sexual liberation, in stark contrast to the more conservative attitudes of later generations. During this era, Betty Boop was depicted in both nude and semi-nude scenes, often groped by secondary characters. She became the first female cartoon character to unapologetically express her sexuality. Her animated shorts were known for their surrealism, paired with an energetic jazz soundtrack. Singer Helen Kane sued Fleischer for allegedly copying her look and signature “Boop-oop-a-doop!” expression, but she ultimately lost the case.
When the Hays Code was introduced in the mid-1930s, it drastically transformed the character, marking the beginning of efforts to sanitize the cartoon industry. Her attire became more modest, and she was depicted with less sexual appeal. However, in doing so, much of her distinctive personality was stripped away. No longer the carefree flapper, she was now relegated to more conventional and 'pure' roles such as a teacher, secretary, housewife, and babysitter. Alongside her, new, innocent characters like Grampy, an eccentric older inventor, and Pudgy, a lovable dog, were introduced.
The previously bizarre and fantastical storylines began to settle down, and Betty's character was redesigned to appear taller with a smaller head. Nevertheless, Max Fleischer managed to cleverly bypass the Hays Code in the cartoon 'A Language All My Own,' where Betty sings in both English and Japanese. The English lyrics were harmless, but the Japanese chorus contained a provocative line that translated to 'Come to bed with me and we’ll boop-oop-a-doop!'
Despite these changes, the revamped version of Betty was not as well-received. Her career in animation effectively ended in 1939, though she experienced a resurgence through syndication in the 1950s, later becoming a symbol of the counterculture during the 1960s and 1970s.
2. SpongeBob’s Alleged Gay Agenda
The notion that SpongeBob SquarePants is subtly promoting homosexuality has circulated for years, particularly among the far-right religious community. Focus on the Family's founder, James Dobson, was one of the first to connect this theory when he criticized a video featuring SpongeBob produced by the We Are Family Foundation, an organization advocating for tolerance.
The belief that SpongeBob is gay stems from frequent use of rainbow imagery and his habit of holding hands with his best friend, the starfish Patrick Star. This idea was largely mocked, but there were those who took it seriously. As reported by Cartoon Brew, David J. Steward stated:
Then there’s the recent Sponge Bob Gay-Pants controversy. Look . . . if you don’t want people to think Sponge Bob is homosexual, then don’t feature him in a 'diversity' video which clearly implies that sodomites should be accepted as well. The flashing colors of Sponge Bob are a clear indicator to me. Everyone knows that the rainbow has become the hallmark of the homosexual movement. By the way, nothing is more blasphemous to the Bible than the Sodomites’ appropriation of the rainbow. It is God’s rainbow, not the homosexuals!
Although SpongeBob has gained popularity within some circles of the gay community, Stephen Hillenberg, the character's creator, has publicly stated that his intent was for SpongeBob to be asexual.
The controversy began in the United States but eventually spread to other countries. In 2012, Ukraine’s National Expert Commission for Protecting Public Morality attempted to ban the show, claiming it promoted homosexuality and calling it a 'social experiment' designed to turn Ukrainian children into 'criminals and perverts.' The report also criticized other cultural imports such as The Simpsons, Family Guy, Pokemon, The Teletubbies, and Futurama for negatively influencing Ukrainian youth.
1. Beavis And Butt-head’s Alleged Bad Influence
In 1993, a five-year-old boy in Ohio unintentionally started a deadly house fire after mimicking something he had seen on the television show Beavis and Butt-head. Using a cigarette lighter, the child set his bed on fire, leading to a blaze that tragically claimed the life of his two-year-old sister. The boy’s mother attributed the incident to her son copying the show, which often made lighthearted jokes about fire and burning things.
Moraine Fire Chief Harold Sigler pointed out to the Los Angeles Times that young children are especially vulnerable to the influence of cartoons that portray dangerous behaviors. He noted, 'When you take a child in the formative years and you get these cartoon characters saying it’s fun to play with fire… this is going to stick in that kid’s mind and it’s going to be with him for a long time.'
MTV denied any link between the tragic incident and the show, though they did take steps to avoid further controversy. They edited out a scene from the episode 'Comedians,' in which Beavis accidentally burns down a comedy club.
In the 1990s, Beavis and Butt-head faced intense backlash and was even banned in some places due to its perceived negative influence on children and teens. The show was linked to various incidents, including property damage and animal cruelty. One example was when a group of kids, inspired by the characters, placed a firecracker in a cat’s mouth, leading Marin County resident Dick Zimmerman to pledge his $7.1 million state lottery winnings to get the show taken off the air. He even established a hotline for people to express their anger or to support the cause.
Beavis and Butt-head also drew criticism for their portrayal of antisocial behaviors, such as vandalism and huffing paint thinner, which many saw as negative examples for young audiences to follow.
The show was both celebrated and condemned for its raw depiction of the disconnection and anti-intellectualism seen in 1990s youth culture. Rolling Stone hailed it as 'The Voice of a New Generation,' while Newsweek remarked, 'The downward spiral of the living white male surely ends here: in a little pimple named Butt-head whose idea of an idea is, ‘Hey Beavis, let’s go over to Stuart’s house and light one in his cat’s butt.’'
Some critics interpreted the program as a crude but thought-provoking piece of political and cultural commentary on early post–Cold War America.
