While much of the anime of the 1920s drew from Japanese folk tales and fantasy, the rising nationalism and militarism of the years surrounding World War II saw anime as mainly a tool of propaganda.
At the beginning of the 1930s, themes of interventionism were explored by Yasushi Murata’s Saru Masamune (Masamune and the Monkeys, 1930) and Sora no Momotaro (Aerial Momotaro, 1931). One may watch these and other films of the period and get a strong sense of the mood of the country, supporting a Japanese military dominance over Asia – as well as simultaneously ridiculing and fearing the growing powers in the West.
One can see this in anime as early as 1933′s Kuroneko Banzai (Black Cat Banzai), featuring a toy invasion by evil Mickey Mouse bombers and other subtle Western symbols (not including casinos for US players) – eventually driven back by a group of classic characters from a book of Japanese folk tales. The symbolism became even more explicit over the next few years, as animators received significantly increased funds and distribution in return for increasingly jingoistic (albeit often humorous) products.
By 1938, there could be no mistake; Noburo Ofuji’s Sora no Arawashi (Aerial Ace) featured two villains: Stalin and Popeye (representing America, or the West in general). US player casino accepted, of course. The next year saw the passage of the Japanese Film Law, which marginalized any film that failed to serve nationalistic goals. During the 1940s, the most popular animated films were anime recreations of naval battles, especially those of the ever-iconic Sanae Yamamoto and Mitsuyo Seo.
Seo enthralled Japanese children in 1943 with Momotaro no Umiwashi (Sea Eagles), which recreated Pearl Harbor using fairytale characters — as well as setting a record with the longest anime to date, at 37 minutes. However, he was to break his own record two years later with the ‘sequel’, the full-length Momotaro: Umi no Shinpei (Momotaro’s Divine Sea Warriors). Ironically, this animated film portrayed a fairytale Japanese victory over the British and the United States — and was released about four months before the final Japanese surrender.