{"id":2645,"date":"2026-04-13T05:49:12","date_gmt":"2026-04-13T05:49:12","guid":{"rendered":"https:\/\/mangaanimeblogger.com\/?p=2645"},"modified":"2026-05-01T05:49:42","modified_gmt":"2026-05-01T05:49:42","slug":"anime-legacy-greece-needs-its-ghibli","status":"publish","type":"post","link":"https:\/\/mangaanimeblogger.com\/?p=2645","title":{"rendered":"Anime Legacy | Tragic Absence. Why is Essential. Greece Needs Its Own Studio Ghibli.2026-Part D&#8217;."},"content":{"rendered":"\n<p>Continuation from: Anime Legacy | Tragic Absence. Why is Essential? Greece Needs Its Own Studio Ghibli. 2026-Part C\u2019 <a href=\"https:\/\/mangaanimeblogger.com\/?p=2636\">https:\/\/mangaanimeblogger.com\/?p=2636<\/a><\/p>\n\n\n\n<p>Table of Contents<\/p>\n\n\n\n<p>6\ufe0f\u20e3 The Greek Obsession with Live-Action<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The Superiority Complex of Live-Action in Greek Media<\/li>\n\n\n\n<li>The Absence of Female Archetypes in Greek TV<\/li>\n\n\n\n<li>Case Studies: Xena, The X-Files, Babylon 5, Alias<\/li>\n\n\n\n<li>The Dominance of Melodrama and the Marginalization of Animation<\/li>\n\n\n\n<li>The Economic and Cultural Prestige of Actors vs. Animation<\/li>\n\n\n\n<li>Iran\u2019s Animation Renaissance as a Case Study<\/li>\n\n\n\n<li>The Illusion of Progressiveness in Greek Dramas<\/li>\n\n\n\n<li>The Nuanced Status of the Ancient Greek Woman<\/li>\n\n\n\n<li>The Problem of Historical Erasure (Aetolian Women, the Amazon Legacy)<\/li>\n<\/ul>\n\n\n\n<p>7\ufe0f\u20e3 Toxic Work Culture Example (Penthouse Case)<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Abuse in Live-Action Productions<\/li>\n\n\n\n<li>The Puritanical Backlash Against Animation<\/li>\n\n\n\n<li>The Need for a Creative Renaissance in Production Culture<\/li>\n<\/ul>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>6\ufe0f\u20e3 The Greek Obsession with Live-Action &nbsp;<\/strong> &nbsp;<\/p>\n\n\n\n<p>&nbsp;Anime Legacy | By exposing the superiority complex of anime haters, who, in the name of a supposed \u201cquality,\u201d silenced the epic narrative, we move on to the essence of the problem.<\/p>\n\n\n\n<p>This in \u201cmodern\u201d Greece, therefore, is not that live-action drama exists, but that it dominates almost exclusively. When narrative culture confines itself to domestic melodrama, social intrigue, and familiar realism, certain symbolic figures quietly vanish. The figures of the Amazon, the seeress, the warrior, scholar- once central to Greek symbolic consciousness- are reduced to historical footnotes rather than living narrative possibilities. A culture that forgets how to reinterpret its archetypes risks mistaking familiarity for depth and repetition for maturity.<\/p>\n\n\n\n<p>&nbsp; Greek television had not yet normalized the warrior-woman archetype in mainstream storytelling. Image<\/p>\n\n\n\n<p>Here lies the answer to the conservatism that often targets anime. The female knights of Saint Seiya, Eagle Marine, and Shaina, hidden behind their Masks, were not \u201cforeign idols\u201d but symbols of asceticism and devotion to duty. Shaina, who transforms hatred into self-sacrifice, embodies the spiritual victory over selfishness\u2014a value deeply compatible with our own ideals, but which was sacrificed on the altar of a superficial \u201cseriousness\u201d in favor of live-action dramas.<\/p>\n\n\n\n<p>In the 1990s, the reception of \u201c<strong>Xena: Warrior Princess\u201d<\/strong> in Greece was often marked by ambivalence. While internationally the series became an emblem of female strength and mythic reinvention, parts of Greek criticism dismissed it as a camp spectacle or a distortion of stories. Yet beneath aesthetic objections lay a subtler tension: the actions of a physically dominant, morally autonomous heroine in a cultural landscape still more accustomed to realism and romantic melodrama. Whether consciously or not, the series exposed a gap between inherited mythic archetypes- such as the Amazon- and their limited presence in contemporary Greek television narratives.<\/p>\n\n\n\n<p>I don\u2019t idealize the series. It was:<br>\u2022 Commercial.<br>\u2022 Often cheesy.<br>\u2022 Inconsistent in writing.<br>\u2022 Of Kitsh Aesthetics.<br>\u2022 Full of anachronisms.<br>But symbolically?<br>It reopened the warrior-woman in mass media.<br>The Subversion of the \u201cDamsel-in-Distress\u201d Model<br>In Greek fiction of the 90s, female characters were usually divided into three categories: the \u201cfemme fatale\u201d, the \u201chousewife\/mother\u201d, and the \u201cyoung lover\u201d in need of protection. Xena caused irritation because:<\/p>\n\n\n\n<p>She overthrew the Monopoly of Male Protection: In Greek series (even historical ones), the man was the agent of action and violence. Xena not only practiced violence, but she did so in a way that ridiculed the male characters (who were often presented as incompetent or cowardly in front of her).<br>Autonomy and \u201cAmazonism\u201d: The image of a woman not defined by her relationship with a husband or father was foreign to the dominant model of Greek creators. Critics called her \u201cunnatural\u201d or \u201chysterical,\u201d precisely because they could not place her in the usual categories.<br>Physicality: Xena was not just beautiful; she was muscular, sweaty, and determined. This dynamic femininity was in stark contrast to the \u201cfragile\u201d femininity that Greek directors promoted in their own productions.<\/p>\n\n\n\n<p><strong>X-Files, Babylon 5, and Alias in the same light<\/strong><\/p>\n\n\n\n<p>The \u201cThreat\u201d to the Traditional Model<br>In \u201cThe X-Files,\u201d Dana Scully was the \u201crationalist\u201d and Mulder the \u201cintuitive\u201d. This reversal of gender stereotypes (where traditionally the man is the logic and the woman the emotion) alienated Greek critics who found it \u201ccold\u201d.<br>Babylon 5<br>The series had women in high administrative and military positions (e.g., Delenn, Susan Ivanova) who made life and death decisions, without seeking the approval of any \u201cpatriarch\u201d, which made the series seem very \u201cforeign\u201d for Greek standards.<br>But it was actually about diplomacy, authoritarianism, moral compromise, and long-term narrative design. In other words, it demanded sustained attention.<\/p>\n\n\n\n<p><strong>Alias <\/strong>featured: A <strong>multilingual, physically elite, emotionally complex, intellectually capable, and highly autonomous female spy.<\/strong><\/p>\n\n\n\n<p>The reception of <em>Alias<\/em> in Greece serves as a perfect case study of <strong>gender dismissal<\/strong>. While Sydney Bristow was portrayed as a hyper-capable agent\u2014using tactical intelligence and martial prowess to overcome physically larger opponents\u2014domestic critics frequently derided the character as \u2018unrealistic.\u2019 In reality, this critique of \u2018realism\u2019 was a thinly veiled discomfort with the image of a woman occupying the absolute center of an action-driven narrative. By labeling her capabilities as impossible, critics sought to delegitimize a female archetype that challenged the traditional, passive roles favored by the Greek \u2018Safety\u2019 of the Recipe. As a multilingual, physically elite. Emotionally complex.Intellectually capable.A highly autonomous female spy.<br>Modern Greek media elude embracing archetypes deeply rooted in our own history \u2014 the Amazon, the priestess, the strategist \u2014 archetypes that anime often explores more boldly than we do. A recurring element of Greek media was the director Manousos Manousakis. He built an entire empire on the model of \u201cforbidden love\u201d (Whispers of the Heart, Don\u2019t Say Goodbye, Love Came from afar). His obsession is explained by three factors:<\/p>\n\n\n\n<p>&nbsp;The paradox becomes clearer when one considers how Greek television handled romantic melodrama. Directors such as Manousos Manousakis repeatedly explored cross-cultural and socially \u201cforbidden\u201d relationships, often casting conventionally attractive mainstream actresses in roles meant to represent marginalized identities. These productions were unapologetically stylized; realism was secondary to emotional spectacle. Yet the same cultural environment that tolerated romantic fantasy frequently dismissed animation and genre storytelling as childish or unrealistic. This selective realism is revealing. If fantasy is acceptable when wrapped in melodrama, why is it suspect when it revives archetypes? Where, in contemporary Greek screens, are the Amazon, the seeress, the warrior, the scholar \u2014 figures that once populated our own mythic imagination? Their absence is not accidental. It reflects an aesthetic narrowing in which domestic intrigue is elevated, while symbolic grandeur is treated with embarrassment. Animation, by contrast, has never been afraid of the archetype. It understands that societies do not mature by shrinking their imagination, but by expanding it.<\/p>\n\n\n\n<p>Twisting the \u201cRomeo and Juliet\u201d Recipe: Manousakis perceived that the Greek audience is moved by class or ethnic conflict. He used the \u201cdifference\u201d (White man with Gypsy, Greek Christian girl with Muslim, Greek housewife with her Albanian servant, femme fatale with the Greek priest) not to make social criticism, but as a melodramatic obstacle that keeps the couple apart.<br>The \u201cExoticization\u201d of the Greek Actress: The choice of a classical, beautiful Greek woman (e.g., Anna-Maria Papacharalambous) to play the Gypsy is the ultimate manifestation of a \u201cfantasy\u201d. \u00a0Manousakis sought a sanitized, aestheticized version of the minority rather than a true representation. By prioritizing a \u2018safe\u2019 and beautified narrative, the production avoided the grit and complexity of lived reality, opting instead for a comfortable spectacle that satisfied the mainstream gaze without challenging its prejudices. However, we see that beautiful gypsy women are a mere fiction. The audience had to see \u201cour\u201d girl disguised, so that she remained attractive and familiar to the conservative average viewer.<\/p>\n\n\n\n<p>&nbsp; The Illusion of Progressiveness: By presenting these love affairs, Manousakis gave the impression that he was \u201cbreaking taboos.\u201d <strong>In reality, however, the women in these series remained passive victims of fate, family, or their environment, waiting for redemption through embracing the protagonist \u2014 the exact opposite of Xena.<\/strong><br>&nbsp; This unveiling of the illusion is revealing. If fantasy is acceptable when limited in melodrama, why is it suspect when it revives archetypes? Where, in contemporary Greek screens, are the Amazon, the seeress, the warrior, the scholar \u2014 figures that once populated our own history, and mythic imagination? Their absence is not accidental. It reflects an aesthetic narrowing in which domestic intrigue is elevated, while symbolic grandeur is treated with embarrassment. Animation, by contrast, has never been afraid of the archetype. It understands that societies do not mature by shrinking their imagination, but by expanding it.<\/p>\n\n\n\n<p><strong>&nbsp; The Nuanced Status of the Ancient Greek Woman<\/strong><\/p>\n\n\n\n<p>One might argue that the era of the Amazons had long passed, and that \u201cthe position of the ancient Greek woman was no better than that of a servant.\u201d <strong>While it is true that she did not possess full political rights in the modern sense, her status was far more complex than often portrayed. She was entitled to a formal education and was officially recorded in civil registries. Furthermore, her husband was legally prohibited from selling her dowry; in fact, these assets remained her own, providing a significant degree of financial independence. <\/strong>In Ephesus, a city of ancient Greek Ionia, inscriptions have revealed that women performed high-level civic duties, such as serving as Kosmeiteira (magistrate\/director). History confirms that during this period, women ascended to the highest echelons of religious authority as Priestesses. The High Priestess of Demeter, for instance, held such prestige that she was the only woman permitted to preside over the Olympic Contests. <strong>The Greeks further honored the feminine through numerous dedicated festivals, such as the Anthesphoria, Gynaikothynia, Ekdysia, and the Heroia, often led by the Priestesses of Delphi. It is also worth noting that while Ancient Greece is often labeled a slave-owning society, it never experienced the massive, violent slave uprisings that plagued the much harsher Roman system\u2014suggesting a different social dynamic altogether. * <\/strong>\u0397 \u03b1\u03c0\u03bf\u03ba\u03ac\u03bb\u03c5\u03c8\u03b7 \u03c4\u03b7\u03c2 \u03b1\u03c1\u03c7\u03b1\u03af\u03b1\u03c2 \u0395\u03bb\u03bb\u03b7\u03bd\u03af\u03b4\u03b1\u03c2: \u0397 \u03ba\u03b1\u03c4\u03ac\u03c1\u03c1\u03b9\u03c8\u03b7 \u03c4\u03c9\u03bd \u03bc\u03cd\u03b8\u03c9\u03bd.\u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0395\u03cd\u03b1\u03bd\u03b4\u03c1\u03bf\u03c2 ,2006[The revelation of the ancient Greek woman: Debunking the myths.Evandros Publications, 2006 ]<\/p>\n\n\n\n<p>  To truly understand the psychological depth of the &#8216;fighting girl&#8217; theme in manga and anime, I highly recommend reading <strong>Beautiful Fighting Girl by Saito Tamaki<\/strong>. It\u2019s a fascinating deep dive into how otaku culture perceives and connects with fictional characters. If you want to add this essential piece of media theory to your collection, you can find it on Amazon here:  <a href=\"https:\/\/amzn.to\/3QSZnLC\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/amzn.to\/3QSZnLC<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"503\" src=\"https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/03\/collage-1024x503.jpg\" alt=\"Anime legacy-collage\" class=\"wp-image-2575\" srcset=\"https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/03\/collage-1024x503.jpg 1024w, https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/03\/collage-300x147.jpg 300w, https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/03\/collage-768x377.jpg 768w, https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/03\/collage.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Let\u2019s study that the Aetolian women did not wait for their salvation. They raised their arms and took their fate into their own hands, as thousands of women around the world do today, refusing to remain \u201cinvisible\u201d and claiming the space that is theirs in History. The women of Aetolia proved to be warriors who fought bravely and repelled the Gallic invasion of Greece in 279 BCE.<\/strong><\/p>\n\n\n\n<p>The current consensus prefers to show how the Greeks are suffering,setting defeatism, rather than remembering the women of Aetolia who held the axe of resistance.<\/p>\n\n\n\n<p>What were the motives why these women were distorted, or silenced? Why was the idea forged that the Gauls were punished by supernatural forces? As far as I can tell, Pausanias wrote during the reigns of Roman emperors such as <strong>Hadrian<\/strong> and <strong>Antoninus Pius<\/strong>, when Greece was culturally prestigious but politically subordinate.<\/p>\n\n\n\n<p>His work, <strong><em>Description of Greece<\/em><\/strong>, aimed to preserve Greek traditions, temples, and myths. However, he often relied on <strong>local priestly traditions and earlier literary sources<\/strong>, which themselves had already become mythologized.<\/p>\n\n\n\n<p>By Pausanias\u2019s time:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Delphi\u2019s priesthood had centuries of <strong>religious storytelling<\/strong> behind it.<\/li>\n\n\n\n<li>Roman rule encouraged <strong>safe, symbolic histories<\/strong> rather than politically provocative ones.<\/li>\n\n\n\n<li>Many local political rivalries of the Hellenistic period had already been <strong>reinterpreted or softened<\/strong>.<\/li>\n<\/ul>\n\n\n\n<p>So, the version he records is likely <strong>a late-stage narrative<\/strong>, and not the original memory.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>The Problem of the Aetolian League<\/strong><\/p>\n\n\n\n<p>The <strong>Aetolian League<\/strong> had once been one of the <strong>most powerful states in Greece<\/strong>. After the Gallic invasion, they effectively became the <strong>protectors of Delphi<\/strong>, gaining enormous prestige.<\/p>\n\n\n\n<p>But their later history made them problematic. They eventually clashed with Rome in the <strong>Roman\u2013Aetolian War<\/strong>, after which their power collapsed.<\/p>\n\n\n\n<p>From a Roman-era perspective:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Celebrating the Aetolians as the <strong>true saviors of Greece<\/strong> could look politically awkward.<\/li>\n\n\n\n<li>Rome preferred narratives emphasizing <strong>divine fate<\/strong> or <strong>collective Greek heritage<\/strong>, not the heroism of a former rival.<\/li>\n<\/ul>\n\n\n\n<p>So shifting the story toward <strong>Apollo defeating the Gauls<\/strong> solved the problem elegantly.<\/p>\n\n\n\n<p>The victory became <strong>religious rather than political<\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Why Supernatural Punishment Was Convenient<\/strong><\/p>\n\n\n\n<p>The divine narrative served several interests simultaneously:<\/p>\n\n\n\n<p><strong>1. Delphi\u2019s priests<\/strong><br>It proved Apollo protected his sanctuary.<\/p>\n\n\n\n<p><strong>2. Roman authorities<\/strong><br>It avoided glorifying a rebellious Hellenistic federation.<\/p>\n\n\n\n<p><strong>3. Later Greek writers<\/strong><br>It fit traditional Greek moral storytelling (hubris punished by the gods).<\/p>\n\n\n\n<p>In this version, the Gauls were destroyed by:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>earthquakes<\/li>\n\n\n\n<li>thunderstorms<\/li>\n\n\n\n<li>falling rocks<\/li>\n\n\n\n<li>phantom warriors sent by Apollo<\/li>\n<\/ul>\n\n\n\n<p>Human defenders become <strong>secondary characters<\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Where the Women Disappear<\/strong><\/p>\n\n\n\n<p>If early local traditions remembered <strong>Aetolian women fighting during the emergency defense<\/strong>, those details would have been doubly inconvenient:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li><strong>Greek elite historiography<\/strong> disliked acknowledging female combatants.<\/li>\n\n\n\n<li><strong>Roman moral ideology<\/strong> emphasized strict gender roles even more strongly.<\/li>\n<\/ol>\n\n\n\n<p>Replacing human defenders with <strong>divine apparitions or heroes of myth<\/strong> was a common literary solution.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>The Pattern in Greek Historiography<\/strong><\/p>\n\n\n\n<p>This transformation fits a broader pattern.<\/p>\n\n\n\n<p>Greek historical memory often moves through three stages:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li><strong>Immediate memory<\/strong> \u2013 chaotic, human, local.<\/li>\n\n\n\n<li><strong>Political reinterpretation<\/strong> \u2013 shaped by rival states.<\/li>\n\n\n\n<li><strong>Mythic stabilization<\/strong> \u2013 divine or legendary explanations dominate.<\/li>\n<\/ol>\n\n\n\n<p>The story of Delphi looks to have passed through all three.<\/p>\n\n\n\n<p>By the time Pausanias recorded it, the narrative had become <strong>a sacred miracle story rather than a military history<\/strong>.<\/p>\n\n\n\n<p><strong>1)Why does Greek TV cling to dramas?<\/strong><br>Greek television\u2019s obsession with social and dramatic (often period) series is no coincidence. It is the result of a combination of financial incentives, low risk, and an outdated perception of what \u201csells\u201d to the Greek audience.<br>Here are the main reasons:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>The \u201cCash Rebate\u201d Model and Ease of Production<br>EKOME\u2019s investment incentive changed the landscape in 2018. While the incentive also covers animation, stations prefer dramas because:<br>Speed: A drama episode can be shot in a few days. An Aniplex, or even Rahgozar-quality animation episode, takes months.<br>Quantity: Channels need a daily flow to maintain advertising packages. Animation cannot be produced at a rate of 5 episodes per week.<\/li>\n\n\n\n<li>The \u201cSafety\u201d of the Proven Formula<\/li>\n<\/ol>\n\n\n\n<p>The Greek audience, particularly the older demographic that remains loyal to linear television, has been conditioned to prefer melodrama. Consequently, producers are terrified of creative risk. They cling to the outdated misconception that animation is strictly for children\u2014a notion thoroughly debunked by international successes like Iran\u2019s <em>The Last Fiction<\/em>. Furthermore, live-action drama facilitates easier product placement; a bottle of soda on a Greek family\u2019s dinner table is far simpler to \u201cmarket\u201d than a digital asset within a high-concept fantasy world.<\/p>\n\n\n\n<p><strong>The Star System<\/strong><\/p>\n\n\n\n<p>Greek television is built on \u201cfaces,\u201d not stories. Stations prioritize well-known actors who can pivot to morning talk shows and celebrity magazines to sustain viewer engagement. In the world of animation, the true \u201cstars\u201d are the animators and designers\u2014creatives whom the Greek \u201cshowbiz\u201d machine does not yet know how to manage, promote, or monetize.<\/p>\n\n\n\n<p><strong>The Absence of Long-Term Strategy (Greece vs. Iran)<\/strong><\/p>\n\n\n\n<p>As seen in Iran, animation has been effectively utilized as a cornerstone of national identity. In contrast, Greece suffers from a lack of strategic vision:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>The Ephemeral vs. The Eternal:<\/strong> Both the state and private networks view television as a disposable consumer product rather than a vehicle for cultural heritage.<\/li>\n\n\n\n<li><strong>The Academic-Industrial Gap:<\/strong> There\u2019s a profound disconnect between Greek universities and the country\u2019s television networks. While Greece\u2019s academic institutions and specialized schools produce world-class animators and digital artists\u2014many of whom are forced to find distinction abroad\u2014domestic television remains indifferent to their potential. While Greece produces world-class animators\u2014many of whom find great success abroad\u2014domestic TV continues to ignore them, opting instead for recycled foreign scripts or yet another tale of \u201cforbidden love\u201d in a rural village.<\/li>\n<\/ul>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>The cost of Georgiadis\u2019 \u201cEthics.\u201d<br>The mentality (that animation is \u201cforeign\u201d or \u201cdangerous\u201d) has left an imprint: many program managers still consider cartoons an inferior art. Thus, they invest in dramas that are considered \u201cquality\u201d, even if their production is often cheap and repetitive. Unlike Hoorakhsh Studios, which exports culture, Greek television remains introverted, recycling dramatic clich\u00e9s that limit the nation\u2019s perspective and its influence abroad.<br>2 )What are the Economic reasons for the Greek Obsession with Live-Action(are actors cheaper than animation studios?)?<br>The answer to the question of whether actors are \u201ccheaper\u201d than animation is not a simple \u201cyes\u201d or \u201cno\u201d, but lies in the way Greek television manages the<br>cost per minute of television time.<br>The economic reasons for the obsession with live-action are as follows:<\/li>\n\n\n\n<li>Cost per Hour of Program (Economy of Scale)<br>In animation, the cost is almost constant for every second: every frame must be designed. In live-action drama:<br>Actors vs Animators: An actor can shoot 10-15 pages of script per day. This translates into 20-30 minutes of finished program. A team of animators takes weeks to produce the same within the same time length.<br>Payback: The costs (set rental, lights, crew salaries) are spread over hundreds of episodes. In animation, the \u201cset-up\u201d (character design, rigging, backgrounds) is a huge upfront cost that the Greek market does not have the patience to amortize.<\/li>\n\n\n\n<li>The \u201cDaily\u201d Model<br>Greek television lives off daily series.<\/li>\n<\/ol>\n\n\n\n<p>Advertising Revenue: A channel needs 200 episodes per year to fill the \u201cgolden zone\u201d (prime time). It is practically impossible for a Greek animation studio to produce 200 episodes per year with the budget of an average series.<br>Velocity of Liquidity: Live-action producers are paid by advertising almost immediately. Animation requires a \u201cdead\u201d production (development) period of 1-2 years with no revenue, something that Greek companies avoid like the devil avoids incense.<\/p>\n\n\n\n<p>a)\u201cCash Rebate\u201d and Overpricing<br>As stated in the EKOME model, the refund concerns expenses incurred in Greece.<br>In live-action, expenses (hotels, catering, transportation, and actors) are easy to record and justify.<br>In animation, the highest cost is intellectual work and software licenses. The Greek tax and investment system is still \u201ctuned\u201d to understand physical production (sets, costumes) and not digital labor intensity.<\/p>\n\n\n\n<p>b)Export Value vs. Domestic Consumption<br>Here is the big difference with Iran and Ashkan Rahgozar:<br>Iran invested in animation because it is easily exportable (it is easily dubbed, it does not have \u201cforeign\u201d features).<br>Greek producers prefer dramas because the \u201cpackages\u201d of the series are easily sold in Cyprus, the Balkans, or to expatriates, based on the \u201cfamiliar recipe\u201d. Animation requires international competition with giants like Pixar or Japanese studios, which scares Greek investors.<br>So are actors cheaper?<br>In the long run, no. But Greek television does not think in the long run. It thinks \u201cnow\u201d. Actors provide immediate content that fills holes in the program and brings immediate viewing figures.<br>As observed with Mr. Georgiadis, the political leadership prefers to watch \u201c300\u201d (CGI) rather than understand that an investment in a studio like Hoorakhsh would pay off many times over in 10 years. The lack of vision translates into financial narrow-mindedness.<br>c)Cultural prestige associated with theatre tradition?<br>In Greece, \u201cCultural prestige\u201d is inextricably linked to theater, and this acts as a brake on the recognition of animation as a serious art.<br>Here are the reasons why \u201ctheatricalism\u201d affects television production:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>Theater as \u201cHigh Art\u201d vs. Animation as \u201cParakatian\u201d<br>In Greek society, the status of \u201ctheater actor\u201d carries a moral and intellectual superiority. Politicians, such as Mr. Georgiadis or Mr. Mitsotakis, prefer to be associated with theater (or historical dramas) because:<br>It gives a serious appearance: Theater is considered the direct descendant of Ancient Tragedy.<\/li>\n<\/ol>\n\n\n\n<p>2. The Devaluation of the \u201cDesign\u201d Among many Greek decision-makers, there is a persistent discrediting of animation as a medium. It is often dismissed as something inherently \u201cartificial\u201d or \u201cchildish,\u201d under the false assumption that it lacks the \u201csoul\u201d or emotional weight of a live actor on stage.<\/p>\n\n\n\n<p>This narrow perspective ignores the reality that animation is an act of <strong>pure creation<\/strong>. Unlike live-action, which records existing reality, animation must build every emotion, every shadow, and every movement from nothing. In the hands of a master, the \u201cdesign\u201d does not lack a soul; rather, it acts as a direct conduit for the creator\u2019s spirit. By dismissing animation as a lesser art form, Greek producers are not just rejecting a technology\u2014they are rejecting a medium that, globally, has proven to be more than capable of conveying the deepest complexities of the human condition.<br>This prejudice prevents state funding from seeing animation as an equal cultural product.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>\u201cConfirmation\u201d through Actors<br>Greek television stations use the prestige of the theater to \u201cwash\u201d the quality of their series:<\/li>\n<\/ol>\n\n\n\n<p>When a daily soap opera hires well-known theater actors, it immediately acquires an \u201cartistic alibi\u201d.<\/p>\n\n\n\n<p>This creates a closed market: Resources are directed where the \u201cnames\u201d are, leaving animators on the sidelines, as they are considered technicians and not \u201cprestigious artists\u201d.<\/p>\n\n\n\n<p><strong>Why Iran Succeeded (The Example of Ashkan Rahgozar)<\/strong><\/p>\n\n\n\n<p>Ayatollah Khomeini did not oppose modern technologies such as cinema and animation, but believed that they should be \u201cpurified\u201d of Western cultural values and put to the service of education and the dissemination of the Revolution\u2019s message. His strategic support is considered crucial in the rescue of Iranian cinema after 1979, as he convinced religious circles that art could be morally acceptable.<\/p>\n\n\n\n<p>Khomeini\u2019s Position on Cinema and Animation<br>Although film production decreased dramatically after the revolution and extreme voices were calling for a complete ban on cinema, Khomeini made his position clear:<br>\u2022 Morality vs. Obscenity: In his first speech after his return from exile in 1979, he declared: \u201cWe are not against cinema, radio or television\u2026 We are against obscenity.\u201d<br>\u2022 Pedagogical Role: He believed that cinema is a manifestation of culture that should serve man and his education according to Islamic rules.<br>\u2022 The film \u201cThe Cow\u201d: The acceptance of cinema was consolidated in the spring of 1980, when Khomeini watched the film The Cow by Dariush Mehrjui. He considered it pedagogically superior to foreign films, giving the \u201cgreen light\u201d to creators to continue working, as long as their films promoted morality and national identity.<br>Activities and Infrastructure<br>The infrastructure for animation in Iran did not start from scratch after the revolution, but was based on the survival and transformation of existing institutions:<br>\u2022 Kanoon (Institute for the Spiritual Development of Children and Youth): This institute, which had been founded before the revolution, continued its operation under new management. It maintained its mission of producing educational materials and animations based on folklore, but now with an emphasis on Islamic, Iranian values.<br>\u2022 Strategic Development: Since the mid-1980s, the Iranian leadership has placed strategic emphasis on the development of the animation industry. This led to the creation of hundreds of companies in the sector in the following decades.<br>\u2022 Academic Standardization: In the late 1980s and early 1990s, university animation programs were established (e.g., at the University of Tehran), offering degrees that combined artistic and technical education.<br>Cultural Festivals and Promotion<br>Iran implemented policies to promote the arts through festivals, using them as a showcase for the ideals of the Revolution:<br>\u2022 Tehran International Animation Festival (TIAF): Although founded later (in 2000) by Kanoon, it is a continuation of the policy initiated under Khomeini to create a domestic industry that could compete internationally.<br>\u2022 Fajr Festival: Iran\u2019s most important film event, established to celebrate the achievements of the new \u201cethical\u201d cinema.<br>\u2022 International Screening: Films had to receive screening permission from the Ministry of Culture and Islamic Guidance to participate in foreign festivals, ensuring that they represented national ideals.<br>Iran, through Ashkan Rahgozar\u2019s Hoorakhsh Studios, has confirmed that animation is not \u201cchild\u2019s play\u201d but a means of national storytelling.<br>1. Connection to National Heritage: Rahgozar\u2019s film \u201cThe Last Fiction\u201d (2018) was based on the Shahnameh (the Epic of Kings). The Iranian state had understood that animation is the ideal tool to \u201cexport\u201d its culture internationally, in a way that live-action films struggle to do due to censorship or cost.<br>2. Educational Infrastructure: Iran invested in schools and specialized workshops as early as the 1970s (such as the Institute for the Intellectual Development of Children and Young Adults \u2013 Kanoon). They created an army of artists who could work at lower costs but with high technical training.<br>3. Self-Sufficiency Due to Sanctions: Due to international sanctions, Iran was forced to develop its own technology and know-how, creating a closed but powerful production ecosystem.<\/p>\n\n\n\n<p>The Contrast with Iran<br>Here, the comparison with Ashkan Rahgozar is revealing:<\/p>\n\n\n\n<p>In Iran, the tradition of miniature and poetry was organically transferred to animation. They managed to give animation the prestige of classical art.<\/p>\n\n\n\n<p>The comparison between Iran and Greece in the field of animation highlights how political will and strategic investment can transform an art into a heavy industry, even under conditions of isolation.<\/p>\n\n\n\n<p>In Greece, the tradition of painting and drawing (e.g., Yannis Tsarouchis) was never officially linked to the digital age in the perception of politicians. They remained attached to the image of the actor who recites, considering it as the only \u201cnationally proud\u201d art.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>The \u201cPolitical Capital\u201d of Actors<br>Actors in Greece have strong political influence (many become MPs or MEPs).<br>Animators, being behind screens, do not have the same \u201cvisibility\u201d nor the same access to decision-making centers.<br>For a politician, it is much more profitable to be photographed at a premiere in Epidaurus than to visit an animation studio creating the next international hit.<br>Conclusion: The \u201cprestige\u201d of theater in Greece functions as a golden wall. It protects quality, but at the same time locks television into outdated formats, preventing the emergence of fantasy-intensive industries (such as animation), which abroad are now considered the pinnacle of modern culture.<br>The irony is that while Mr. Georgiadis may have seen \u201c300\u201d for the \u201cprestige\u201d of the story, he refuses to see the art behind the medium, because it does not fit in with the traditional theatrical hierarchy it serves.<\/li>\n\n\n\n<li>The illusion that \u201creal actors = serious art.\u201d<br>It is a deeply rooted prejudice of physical presence: if you don\u2019t see the actor\u2019s sweat, flesh, and bone, then \u201cit\u2019s not art\u201d.<br>Let\u2019s deconstruct this fallacy and how it is maintained:<\/li>\n\n\n\n<li>The \u201cTrap\u201d of Realism<br>In Greek culture, art is often equated with realism. Animation, by its very nature, is abstraction.<br>For the average Greek politician or program director, seeing an actor cry on camera is \u201creal\u201d.<br>Seeing a hand-drawn character (as in The Last Fiction) express the same sadness is considered \u201cartificial\u201d.<br>The reality: The truth is that animation can achieve psychological depths that live-action simply cannot reach. While a live actor is bound by the laws of physics and the natural limitations of the human face, animation is unconstrained. It allows the creator to externalize the internal\u2014to turn a character\u2019s grief into a literal storm or their joy into a shift in the very laws of gravity. In animation, the visual environment is not just a setting; it is an extension of the character\u2019s psyche. It doesn\u2019t just show us what a character is doing; it manifests how they are <em>feeling<\/em> in a way that transcends the boundaries of physical reality.<\/li>\n\n\n\n<li>The Ignorance of \u201cActing\u201d in Animation<br>There is a mistaken impression that in animation, \u201cthe computer does everything\u201d.<br>In reality, the animator is the actor behind the pencil. He must understand anatomy, psychology, and timing better than many theater actors.<\/li>\n<\/ol>\n\n\n\n<p>When Adonis Georgiadis or the leadership of ND underestimate the medium, they essentially underestimate one of the most demanding forms of acting in the world.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>Animation as a \u201cTrojan Horse\u201d (The Lesson of Iran)<br>Ashkan Rahgozar understood something that Greece ignores:<br>Animation is not a \u201cgenre\u201d, it is a medium.<br>While in Greece animation is imprisoned in the category of \u201cchildren\u2019s\u201d, in Iran, it was used to convey epic, dark, and political messages. The illusion that \u201creal actors = serious art\u201d is shattered if one sees the power of a fight scene in The Last Fiction, which has more spirituality and \u201cweight\u201d than many cheap Greek live-action productions.<\/li>\n\n\n\n<li>The Political Expediency of \u201cSeriousness\u201d<br>Why has Mr. Georgiadis never apologized?<\/li>\n<\/ol>\n\n\n\n<p>Because admitting that animation is serious art would mean admitting that his judgment was frivolous.<br>In the Greek political scene, \u201cseriousness\u201d is measured by how attached you are to the past. Animation represents the future, technology, and globalization\u2014elements that often terrify a conservative rhetoric that wants to keep the public locked into traditional (and controlled) standards.<\/p>\n\n\n\n<p>The Result of Illusion<\/p>\n\n\n\n<p>This obsession has led to cultural isolationism:<br>Brain Drain: The best Greek animators work at Disney, Netflix, or Ubisoft.<br>Poverty of Imagination: Greek TV recycles the same social dramas, while it could be creating \u201cmodern myths\u201d through animation that would travel the world.<br>It is tragic that in 2017 Survivor was praised as a \u201csocial phenomenon\u201d, while at the same time the art that requires the utmost human skill and imagination is still treated as something \u201cnot for serious people\u201d.<br>Let\u2019s take examples from the cyberpunk \u201cBubblegum Crisis\u201d of the late 80s, and of Rahgozar, for a public debate to dispel this \u201cillusion\u201d of the superiority of live-action.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>\u201cVisual Metaphor\u201d vs. Camera Realism<\/li>\n<\/ol>\n\n\n\n<p>Bubblegum Crisis is an Example: Set in the dystopian Mega Tokyo of 2032, the technology of the \u201cBoomers\u201d (androids) is used to show the alienation and corruption of corporations.<br>Argument: Live-action from the 1980s would have needed millions to show this depth. But animation can project emotion onto the city. The \u201ctrue art\u201d here is not the recording of reality, but the creation of a world that reflects our fears about the future.<br>Response to \u201cseriousness\u201d: How can a reality show like Survivor be considered \u201cmore serious\u201d than a series that predicted social inequality and the dominance of technology?<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>\u201cLine Acting\u201d vs. The Star Actor<\/li>\n<\/ol>\n\n\n\n<p>Rahgozar Example: In The Last Fiction, Zahhak or Kaveh\u2019s expressions are not just \u201cdrawings.\u201d They are studied movements that convey inner conflict, anger, and sacrifice in a way that no actor (especially in a daily drama) can achieve without seeming overdone.<br>Argument: In animation, the creator has complete control over the performance. Every look is intentional. This requires a greater mental effort than having an actor cry on set. \u201cSerious art\u201d is judged by intention and execution, not by whether the performer is a member of the Screen Actors Guild.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>Cultural Identity as an Exportable Product<\/li>\n<\/ol>\n\n\n\n<p>Comparison:<br>Bubblegum Crisis made the West get in love with Japanese aesthetics and philosophy.<br>Rahgozar took Iran\u2019s oldest epic and made it a global phenomenon, reaching the Oscar lists.<br>Argument to Politicians: While you invest in dramas that are consumed only within borders or in reality that are forgotten the next season, animation builds timeless cultural power (Soft Power). Iran is applying animation to show its history to the planet. Why is Greece afraid to do the same with its own mythology?<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>The Moral Dimension (Reply to Georgiadis)<\/li>\n<\/ol>\n\n\n\n<p>Argument: Mr. Georgiadis, in 2007, accused animation of lacking morality.<br>In Bubblegum Crisis, the protagonists (Knight Sabers) fight for justice in a world that has lost its compass.<br>In Rahgozar, the struggle of good with evil is archetypal and deeply moral.<br>The \u201csharp\u201d question: What is truly moral? An art that teaches resistance to injustice and self-sacrifice through symbolism, or a reality show based on competition for who can eat a coconut more?<br>Practical Conclusion for the Discussion<br>\u201cOur obsession with live-action is not a choice of quality; it is a lack of imagination and economic illiteracy. When Rahgozar conquers the world with his pencil and Bubblegum Crisis defines our future since 1987, considering animation \u201cchildish\u201d as if to define typography inferior to a handwritten letter. It is time to stop praising Survivor and start supporting Greek creators who can make our own mythology a global cyberpunk epic.\u201d<\/p>\n\n\n\n<p>The TV series \u201cThe Evil Vezyer\u201d (\u039f \u039a\u03b1\u03ba\u03cc\u03c2 \u0392\u03b5\u03b6\u03cd\u03c1\u03b7\u03c2) implemented a Simplistic \u201cConspiracy\u201d: The satire focused on deconstructing political muck and sloppiness. I find the plot simplistic because the series focuses more on the absurdity of Greek bureaucracy than on a complex political thriller.<br>So, the series, through the exaggeration of Haris Roma\u2019s comedy, cultivated in many Greeks a dangerous illusion:<br>\u2022 The \u201cEase\u201d of Corruption: It presented politics as a game where a simple intrigue or blackmail is enough to change everything. In reality, geopolitical balances and state mechanisms are much more complex than the \u201coffice of a Secretary General\u201d.<br>\u2022 The Ridicule of Danger: When you see the \u201cbad guy\u201d as a hysterical caricature, you stop taking him seriously. This may have led the audience to underestimate the real dangers of foreign policy, considering them simply \u201cinternal concoctions\u201d.<br>\u2022 Lack of Consequences: In the Mega Channel universe of that time, actions rarely had a lasting impact.<\/p>\n\n\n\n<p>Let\u2019s reimagine the series: A sequence takes place, where the secretary Vezyris enters the American embassy, meets American officers, and tells them: <strong>\u201cMake me Prime Minister of Greece, and I\u2019ll do everything to name Skopia to Macedonia. I\u2019ll even commence a witch hunt on everyone who would oppose the plan, including friends of Russia.\u201d<\/strong><\/p>\n\n\n\n<p>This would show that decisions have irreversible national consequences, something the series avoided to remain \u201centertaining.\u201d<br>Ultimately, the series may have contributed to what we call \u201cpolitical primitivism\u201d: the belief that everything is solved or ruined by a small scheme in the background, removing from the citizen a sense of the complexity of the real world.<br>If a society chooses to privilege one form of storytelling over another, it implicitly declares that form more mature, more serious, and worthy of attention. But maturity is not declared; it is demonstrated. Before dismissing animation as inferior, it is reasonable to ask whether the dominant form \u2014 live-action television \u2014 has fulfilled the ethical and aesthetic expectations placed upon it. The following examples offer a revealing case.<br>Let\u2019s see what\u2019s subtly wrong with two Greek, lavishly made TV live-action shows.<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>\u201c\u039a\u03c9\u03bd\u03c3\u03c4\u03b1\u03bd\u03c4\u03af\u03bd\u03bf\u03b0 \u03ba\u03b1\u03b9 \u0395\u03bb\u03ad\u03bd\u03b7\u03c2\u201d. The famous series about Professor Mr. Kantakouzinos. Who, as an instructor, never does his duty to teach at the university. Throughout the show runs his strange obsession with writing a doctoral thesis on the sewage system in Byzantium. Why, of all the topics of this empire, did they get this one\u2026? Don\u2019t people know that this sounds like the sexual perversion slander \u03ba\u03bf\u03c0\u03c1\u03bf\u03bb\u03b1\u03bb\u03b9\u03ac? How about the constant quarrels? The lack of romantic tension was called \u201d romantic.\u201d<br>The problem is that Greek television recycles misanthropy and triviality, calling them \u201centertainment\u201d.<\/li>\n<\/ol>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Explanation<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>Constantine and Helen[ \u039a\u03c9\u03bd\u03c3\u03c4\u03b1\u03bd\u03c4\u03af\u03bd\u03bf\u03c5 \u03ba\u03b1\u03b9 \u0395\u03bb\u03ad\u03bd\u03b7] (Coprology as a \u201cScience\u201d):<br>The choice of the Byzantine sewage system (the infamous \u201cApolytikion\u201d) is not accidental. It is a way to ridicule Byzantine literature and serious historical research.<br>Coprolalia\/Skatophilia: The subconscious sexual innuendo is throughout the series. Such an obsession with sewage in a sitcom lowers the intellectual level to a \u201ccesspool\u201d, literally and figuratively.<br>The \u201cRomantic\u201d Toxic Model: The series promoted the idea that abuse, screaming, and complete disrespect are \u201cpassion\u201d. It is the apotheosis of anti-eroticism. &nbsp;By serious standards, the constant screaming and physical aggression aren\u2019t romantic; they\u2019re exhausting. The lack of tension is replaced by high-decibel shouting matches that somehow ended in a wedding.<\/li>\n<\/ol>\n\n\n\n<p>The Professional Void: He seldom goes to the University of Athens. In reality, a professor with that little output and zero teaching hours would have lost his tenure long ago. As he performs no labor, he lives in a beautiful house in Marousi that he didn\u2019t earn (it was part of an inheritance dispute).<br>The Economic Message: The show inadvertently(?)glamorized the idea that \u201chaving a title\u201d or \u201cby never working to own a house\u201d is more important than actual productivity. It mirrored a pre-crisis mentality where the goal was a state job with tenure and minimal effort.<br>\u2022 The Moral Stagnation: By making his constant screaming and \u201cscamming\u201d for a better life funny, the show softened the edges of what was actually a very dysfunctional social behavior. It portrayed the \u201cGreek Dream\u201d not as progress, but as successfully defending one\u2019s \u201cturf\u201d without working.<\/p>\n\n\n\n<p>2) The newly made ones :<\/p>\n\n\n\n<p>a)The series \u201cThe Red River\u201d by Manousos Manousakis (2019-2023) was a significant milestone in his career. Under the claim \u201cof concern for Greek history, such as the highlighting of the Pontic Genocide,\u201d &nbsp;he brought his usual self. His approach focused more on the drama of the victim and the suffering of the refugee, following the recipe of \u201cmelodrama\u201d that he established for himself. My criticism is on the difference between the story of passive sacrifice and the history of armed resistance.<br>Indeed, the series received comments on the following points:<\/p>\n\n\n\n<p><strong>The Emotion of Defeatism.<\/strong><\/p>\n\n\n\n<p><strong>Absence of the Guerrilla<\/strong>: While there was strong armed resistance in Pontus (e.g., in the mountains of Santa or Pafras), the series chose to give weight to uprooting. The omission of victorious battles indeed created a sense of fatalism or defeatism in the viewer.<br><strong>Fiction vs. Heroism<\/strong>: The focus on the romance often \u201cstole\u201d time from the emergence of the military and political organization of the Pontians, downgrading the image of the fighter.<br><strong>Psychological impact<\/strong>: There is a view that the constant display of the massacre cultivates a \u201ccollective trauma\u201d rather than national self-confidence. The need for role models who overcome and resist is a key issue for popular inspiration.<\/p>\n\n\n\n<p>Essentially, the series functioned as a \u201cmemorial\u201d for the victims, but missed the opportunity to function as an epic for the indomitable heroes.<\/p>\n\n\n\n<p>1. Specific Battles for the \u201cPontic Epic.\u201d<br>Instead of the massacre, an epic animation could show:<\/p>\n\n\n\n<p><strong>The Siege of Santa Castle (1921)<\/strong>: A \u201cGreek Masada\u201d, where the guerrillas under Eucleides Kourtides resisted on multiple forces. It is a story of pure bravery that inspires, rather than saddens.<br><strong>The Battles of Top Cham<\/strong>: The action of the guerrilla groups of Pafra, which forced the Turkish army to retreat in several clashes.<br><strong>The Action of the Pontic Amazons<\/strong>: Women like Pelagia and Helen who fought in the mountains. Visualizing such figures would \u201cbreak\u201d the pattern of the passive victim.<\/p>\n\n\n\n<p>2. Comparison with Productions That Highlight Victory<\/p>\n\n\n\n<p>Western Models: Braveheart or The Patriot. Although they picture suffering, the closure is freedom and resistance.<br>Japanese Anime (e.g., Golden Kamuy or Arslan Senki): They deal with national traumas and historical periods emphasizing militancy and survival, avoiding the \u201cmelodramatism\u201d that locks the viewer in sadness.<\/p>\n\n\n\n<p>Animation vs. \u201cManousakis\u201d Drama<br>Greek drama (like Red River Kokkino Potami) opts for a static depiction of trauma. The viewer identifies with the victim, which causes emotional exhaustion.<br>In contrast, animation (with its economy of movement and emphasis on archetypes) could transform the Pontic resistance into an epic Shonen:<\/p>\n\n\n\n<p>Visual Language: Where Manousakis utilizes close-ups of tears, animation applies dynamic angles of view in battles.<br>Psychology: Drama generates sympathy for the defeated; animation generates admiration for the fighter.<\/p>\n\n\n\n<p>2. Eucleides Kourtides: The Missing Model<br>Kourtides (the \u201cLeonidas of Pontus\u201d) is the ideal figure to support your argument. Instead of the image of the refugee with the bag, we have:<\/p>\n\n\n\n<p>The Chief of Santa: He led the rebels in the Santa mountains, an area with 7 villages that remained impregnable.<br>The Battle of Papa\u2019s Hole (1921): With just a handful of men, Kourtides faced hundreds of Turkish soldiers. His strategy and refusal to surrender are reminiscent of movie heroes that Greek live-action ignores for the sake of melodrama.<br>Symbol of Defiance: Even after the fall of the front, his action kept hope alive. He is a character that \u201cwrites\u201d perfectly in animation, as his life is full of action, danger, and heroic escape.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"250\" height=\"356\" src=\"https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/04\/Golden_Kamuy_v1_cover.jpg\" alt=\"Anime Legacy | Golden_Kamuy_v1_cover\" class=\"wp-image-2687\" srcset=\"https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/04\/Golden_Kamuy_v1_cover.jpg 250w, https:\/\/mangaanimeblogger.com\/wp-content\/uploads\/2026\/04\/Golden_Kamuy_v1_cover-211x300.jpg 211w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/><\/figure>\n\n\n\n<p>The fine example of Sugimoto in the manga: &#8220;The Golden Kamuy&#8221;[<a href=\"https:\/\/en.wikipedia.org\/wiki\/Japanese_language\" rel=\"nofollow noopener\" target=\"_blank\">Japanese<\/a>: \u30b4\u30fc\u30eb\u30c7\u30f3\u30ab\u30e0\u30a4],written and illustrated by <a href=\"https:\/\/en.wikipedia.org\/wiki\/Satoru_Noda_(artist)\" rel=\"nofollow noopener\" target=\"_blank\">Satoru Noda<\/a>[\u91ce\u7530\u30b5\u30c8\u30eb]. Set against the backdrop of the Russo-Japanese War, the anime tackles veteran trauma and survival. The protagonist \u201cSugimoto the Immortal\u201d embodies the denial of defeat. Similarly, Eucleides Kourtides could be a \u201cSanta\u2019s Immortal\u201d, a character who survives improbable circumstances thanks to his martial virtue.<br>Yotoden: As the historical Sengoku period turns into a dark, supernatural epic. It confirms that animation can take serious archetypes (ninja, samurai) and transform them into something dynamic. In \u201cRed River\u201d, the Pontic rebels remain \u201cd\u201d of the drama, while in animation, they would be the central heroes who upset the balance.<\/p>\n\n\n\n<p>The Connection with Eucleides Kourtides<br>Kourtides was not just a soldier; he was a mountain tactician. His ability to keep Santa invincible against a regular army is the ultimate \u201cPower Fantasy\u201d that animation loves. Manousakis\u2019 series focuses on \u201cwhy we lost\u201d, while an anime would focus on \u201chow we stayed standing until the end\u201d.<\/p>\n\n\n\n<p><strong><em>While Japan uses animation to transform its history into a global epic myth, Greece remains trapped in a \u201cmanousakeian\u201d model of drama that recycles trauma rather than inspires. A typical example is Red River: instead of highlighting the Pontic Epic and the shocking resistance of the rebels, the series submits to the familiar melodramatic formula, focusing passively on the slaughter and mourning.<\/em><\/strong><strong><br><em>This approach produces a dangerous defeatism. Where Greek live-action depicts the victim bending, an anime like Golden Kamuy would highlight the iron will to survive, or, like Yotoden, would transform the historical tradition into an explosive show of strength. The absence of figures like Euclides Kourtides \u2014of \u201cLeonidas of Pontus\u201d who kept Santa impregnable\u2014 from the central narrative deprives the public of heroic role models. Instead of the image of the Greek who fights as a tactician in the mountains, television offers us the Greek who suffers. Animation has the unique ability to visualize the victory of the soul and bravery, elements that domestic production \u201csilences\u201d in favor of a static and fatalistic aesthetic.<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>While Japan would make Kourtides a global legend through animation, Greek television discards him on the sake of tearful viewership, preferring to show the Greek suffering and force defeatism rather than winning.<\/em><\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/mangaanimeblogger.com\/tine-chelc-the-captivating-mage-fighting-for-her-tribe-in-fate-strange-fake\">https:\/\/mangaanimeblogger.com\/tine-chelc-the-captivating-mage-fighting-for-her-tribe-in-fate-strange-fake<\/a><\/p>\n\n\n\n<p>b) \u201cThe witch (\u0397 \u039c\u03ac\u03b3\u03b9\u03c3\u03c3\u03b1), by Ant1. The context makes no sense. It\u2019s supposed to be Greece under Ottoman rule. What was so suspenseful about it? That they placed a harlot on the side of a warlord, and then they get worried if she is a witch? Did the enslaved Greeks \u03c1\u03b1\u03b3\u03b9\u03ac\u03b4\u03b5\u03c2 ever have such luxuries?<\/p>\n\n\n\n<p>\u201cThe Witch\u201d The Historical Forgery- Backed Anachronism:<\/p>\n\n\n\n<p>The series, ignoring the cruel reality of the Greeks, attempts to copy Game of Thrones in a \u201cBalkan\/Ottoman\u201d setting. &nbsp;During the 400 years, the enslaved Greeks were struggling for their survival and their faith; they did not live in towers with \u201cfatal\u201d witches and soap opera-style love triangles.<br>The \u201cHarlot\u201d on the side of the \u201cWarlord\u201d: the woman must be either a victim or a \u201cpervert\u201d (harlot\/witch) to be of interest to the Greek audience. The concept of the Priestess or the Amazon is completely absent because it requires spiritual depth.<br>By turning the Ottoman occupation into a gothic aesthetic fantasy, the true gravity of the Tourkokratia is lost.<br>\u2022 The Confusion: When a sitcom is lavishly backed to forge history presented through the lens of &nbsp;Netflix, then the actual socio-economic reality of the Greek people\u2014the strict Occupation, the poverty, the secret schools (regardless of the historical debate on them), the heavy taxes, and the sheer grit of survival\u2014becomes secondary.<br>\u2022 The Luxury Bias: The \u201cluxury\u201d shown on screen cultivates a false image. It makes it look like 1800s Greece was a place of intrigue and velvet capes rather than a brutalized, agrarian society fighting for its very existence. This makes it harder for younger generations to appreciate the actual hardship their ancestors endured.<br>3. The \u201cCanned\u201d Emotional Intelligence<br>Both shows, in different ways, promote a confused version of human relationships:<br>\u2022 The Sitcom: Taught that love is constant verbal abuse and a lack of boundaries.<br>\u2022 The Drama: Teaches that history is just a backdrop for modern-style soap opera romances.<br>When the most popular media in a country relies on shouting (\u039a\u03c9\u03bd\u03c3\u03c4\u03b1\u03bd\u03c4\u03af\u03bd\u03bf\u03c5 \u03ba\u03b1\u03b9 \u0395\u03bb\u03ad\u03bd\u03b7\u03c2) or impossible glamor (\u0397 \u039c\u03ac\u03b3\u03b9\u03c3\u03c3\u03b1), it creates a \u201cmoral predicament\u201d where the public becomes used to high-decibel drama over calm, logical discourse or historical accuracy.<\/p>\n\n\n\n<p>Why are excuses incorrect?<\/p>\n\n\n\n<p>\u2022 The \u201cCommerciality\u201d: They often say that <strong>\u201c<\/strong>this is what the people want\u201d<strong>.<\/strong> This is wrong. <strong>The people consume what they are served because they have no alternative infrastructure (like the animation).<\/strong><br>\u2022 The \u201cQuality\u201d of The Witch: <strong>The expensive production (sets, costumes) is used as a smokescreen to hide the empty script and the lack of historical truth.<\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>The Result: A Cultural Schizophrenia<br>Greeks are often caught between two identities: the glorious, ancient\/Byzantine ancestor and the modern, struggling obedient.<br>\u2022 Konstantinos represents the mocking of history (the Byzantine sewage)through a sick obsession, while ignoring that the present will crumble.<br>\u2022 The Witch represents the desire to see our history through a \u201cWestern\u201d or \u201cNetflix-style\u201d lens to feel relevant.<br>Ultimately, these shows don\u2019t cause an economic crisis, but they do provide the anesthesia that allows people to ignore the systemic issues that lead to one.<\/p>\n\n\n\n<p>Let\u2019s review the official trailer of \u201c\u039f\u03bd\u03b5\u03b9\u03c1\u03bf \u0396\u03c9\u201d \u03bc\u03b5 \u03c4\u03bf\u03bd \u039c\u03b9\u03c7\u03ac\u03bb\u03b7 X\u03b1\u03c4\u03b6\u03b7\u03b3\u03b9\u03ac\u03bd\u03bd\u03b7. Where the pretty girl(model Julia Alexandratou in her early days) dons attire similar to Tomb Raider to reach her boyfriend, attempting to enter the fortified villa.<\/p>\n\n\n\n<p>But something is certainly OFF: She is weaponless. She tries to reach him, making impressive moves of \u201cacrobatic\u201d invasion in the place, but she fails. So they choose to ridicule Tomb Raider.<br>This is the \u201cGreek paradox\u201d: directors borrow the aesthetics of global pop culture (Lara Croft\u2019s look), but they strip her of her power and essence (weapons, decision-making mindset, ability, autonomy), turning her back into a clumsy girl who is simply looking for her partner. The official trailer for \u201cDream Life\u201d confirms exactly this sheer manipulation, which twists the symbol to something obscure and superficial.<br>This mentality operates with double standards:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>The Castration of the Archetype: A Greek kunoichi or warrior would frighten the domestic system because she would escape the standard of \u201cpassive beauty\u201d. If the heroine has weapons or superpowers, she ceases to be the victim who needs protection \u2014 and this destroys the soap opera recipe.<\/li>\n\n\n\n<li>The Hypocrisy of \u201cCorruption\u201d: The same people who would label an ecchi or a seinen anime as \u201cperverted\u201d have no problem with everyday series that portray betrayal and crime as normal. They consider fantasy dangerous because it offers alternative life models, while their keyhole realism is familiar and controllable.<br>It is tragic that Greece, the homeland of the Amazons and Athena, is afraid to see a Greek production about a female warrior on screen, calling her \u201cun-Hellenic.\u201d In fact, nothing is more Greek than the archetype of the Virgin Warrior, which Japan duly honored (e.g., Nausica\u00e4, Ghost in the Shell), while we buried it under tons of melodrama.<\/li>\n<\/ol>\n\n\n\n<p>In retrospect, was there something wrong with the Greek TV series \u201cAt five o\u2019clock(\u03a3\u03c4\u03bf \u03a0\u03b1\u03c1\u03ac \u03a0\u03ad\u03bd\u03c4\u03b5)\u201d ?<\/p>\n\n\n\n<p>The series (2005-2007) was a phenomenon that, despite its enormous success, is now receiving scrutiny for its choice to stay within the \u201charmless\u201d context of social solidarity, avoiding hard politics.<\/p>\n\n\n\n<p>Here are the concerns:<br>\u2022 The \u201cSoft\u201d Political Conflict: The case with Prime Minister Pavrinos and the murder of the 1970s functioned more as a \u201cpolice mystery\u201d than as a deep analysis of political decay. While the Macedonian issue was boiling in 2006, Kapoutzidis chose to focus on the power of the group and \u201cgood vs. evil\u201d, avoiding national intrigues that could trouble the audience.<br>\u2022 Implications and Social Agenda: The series indirectly introduced issues of sexual orientation (such as the character of Fotis), but did so in a way that today seems overly cautious. Focusing on the LGBTQ+ agenda became the creator\u2019s main concern in his subsequent works (e.g., \u201cSerres\u201d), leaving the \u201cnational drama\u201d behind.<br>\u2022 Lack of National Intrigue: Kapoutzides has never touched on the \u201cgreat\u201d national conspiracy. His series remains anthropocentric and often didactic. If \u201cPavrinos\u201d had been a politician involved in geopolitical schemes, and more than an old murderer, the series would have acquired another, more historical significance.<br>\u2022 2006\u2019s \u201cThorn: The refusal to include the real national tension of the time, such as the Macedonian, was likely a conscious choice to maintain the \u201cfeel-good\u201d character of Mega Channel.<br>Ultimately, Kapoutzides preferred to craft a modern fairy tale rather than a national manifesto, something that for many viewers today seems like a missed opportunity for a more \u201cadult\u201d television.<br>Do you think that if a Greek creator made an indie animation with a dynamic Greek heroine and uploaded it directly to the internet, they could bypass this \u201cofficial\u201d gerontocracy?<\/p>\n\n\n\n<p>Kyriakos Mitsotakis and \u201cSurvivor\u201d &nbsp; &nbsp; &nbsp;<\/p>\n\n\n\n<p>&nbsp; At the beginning of 2017, the president of the new Democracy, Kyriakos Mitsotakis, publicly spoke very nicely about the( excessively praised) reality show \u201cSurvivor\u201d. I see how the animehating sense of Georgiades is aligned with the higher-ups of ND. \u201ca phenomenon that I want to examine. I do not judge it either negatively or positively, nor am I in a hurry to draw a specific conclusion. It interests me, it is a phenomenon that Greek society sees, so I am in a hurry to draw a conclusion, but lately I am starting to become informed about it.\u201d[\u201c\u03ad\u03bd\u03b1 \u03c6\u03b1\u03b9\u03bd\u03cc\u03bc\u03b5\u03bd\u03bf \u03c0\u03bf\u03c5 \u03b8\u03ad\u03bb\u03c9 \u03bd\u03b1 \u03c4\u03bf \u03b5\u03be\u03b5\u03c4\u03ac\u03c3\u03c9. \u0394\u03b5\u03bd \u03c4\u03bf \u03ba\u03c1\u03af\u03bd\u03c9 \u03bf\u03cd\u03c4\u03b5 \u03b1\u03c1\u03bd\u03b7\u03c4\u03b9\u03ba\u03ac \u03bf\u03cd\u03c4\u03b5 \u03b8\u03b5\u03c4\u03b9\u03ba\u03ac , \u03bf\u03cd\u03c4\u03b5 \u03c3\u03c0\u03b5\u03cd\u03b4\u03c9 \u03bd\u03b1 \u03b2\u03b3\u03ac\u03bb\u03c9 \u03ad\u03bd\u03b1 \u03c3\u03c5\u03b3\u03ba\u03b5\u03ba\u03c1\u03b9\u03bc\u03ad\u03bd\u03bf \u03c3\u03c5\u03bc\u03c0\u03ad\u03c1\u03b1\u03c3\u03bc\u03b1. \u039c\u03bf\u03c5 \u03c0\u03c1\u03bf\u03be\u03b5\u03bd\u03b5\u03af \u03b5\u03bd\u03b4\u03b9\u03b1\u03c6\u03ad\u03c1\u03bf\u03bd, \u03b5\u03af\u03bd\u03b1\u03b9 \u03ad\u03bd\u03b1 \u03c6\u03b1\u03b9\u03bd\u03cc\u03bc\u03b5\u03bd\u03bf \u03c0\u03bf\u03c5 \u03b2\u03bb\u03ad\u03c0\u03b5\u03b9 \u03b7 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1 \u03b3\u03b9 \u03b1\u03c5\u03c4\u03cc \u03b4\u03b5\u03bd \u03c3\u03c0\u03b5\u03cd\u03b4\u03c9 \u03bd\u03b1 \u03b2\u03b3\u03ac\u03bb\u03c9 \u03c3\u03c5\u03bc\u03c0\u03ad\u03c1\u03b1\u03c3\u03bc\u03b1 \u03b1\u03bb\u03bb\u03ac \u03c4\u03ce\u03c1\u03b1 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03b1\u03c1\u03c7\u03af\u03b6\u03c9 \u03bd\u03b1 \u03b5\u03bd\u03b7\u03bc\u03b5\u03c1\u03ce\u03bd\u03bf\u03bc\u03b1\u03b9 \u03b3\u03b9\u03b1 \u03b1\u03c5\u03c4\u03cc\u00bb. ]<\/p>\n\n\n\n<p><a href=\"https:\/\/www.documentonews.gr\/article\/survivor-telika-to-blepei-o-kyriakos-mhtsotakhs-video\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.documentonews.gr\/article\/survivor-telika-to-blepei-o-kyriakos-mhtsotakhs-video<\/a><\/p>\n\n\n\n<p>\u2022 He admitted that his family watches it and commented on the \u201ccompetitive\u201d but also \u201cteam\u201d nature of the game.<br>\u2022 This stance was interpreted by many as an attempt to reach the wider public (\u201cpopular profile\u201d), as the program was achieving unprecedented viewership rates.<br>\u2022 The result: While animation in Greece remains without a strong industry, politicians use television culture as a communication tool, without necessarily supporting substantial artistic creation.<\/p>\n\n\n\n<p>When a politician or intellectual mocks animation, let me point out that:<\/p>\n\n\n\n<ol start=\"1\" class=\"wp-block-list\">\n<li>Iran and \u201cInfrastructure\u201d: The success of Ashkan Rahgozar and Hoorakhsh Studios proves that even under strict regimes, animation is used to highlight national mythology (e.g., The Last Fiction) with global appeal.<\/li>\n\n\n\n<li>Moral Values: Animation is not a \u201cgenre\u201d, it is a \u201cmedium\u201d. Saying that children don\u2019t get values from animation is like saying that they don\u2019t get values from books because there are bad books.<\/li>\n<\/ol>\n\n\n\n<p>&nbsp; In recent years, Greek television has invested heavily in so-called \u201cquality\u201d productions \u2014 elaborate melodramas, large ensembles, polished cinematography, and substantial funding mechanisms. <strong>On the surface<\/strong>, this appears to signal a cultural renaissance. The industry is more technically competent, more ambitious in scale, and more confident in presentation. Yet scale alone does not constitute renewal. <strong>A true renaissance is not measured only by budgets or production values, but by the expansion of imaginative horizons. When narrative ambition remains confined to familiar formulas \u2014 period melodrama, social intrigue, biographical dramatization \u2014 one must ask whether what we are witnessing is transformation, or refinement of an old template. Growth in resources does not automatically mean growth in symbolic courage.<\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>7\ufe0f\u20e3Toxic Work Culture Example (Penthouse case)<\/strong> Plus, I found news on <a href=\"http:\/\/NewsBeast.gr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">NewsBeast.gr<\/a> as a confirmation of The Cultural Self-Harm. The ruse behind the cute image of series ,such as \u201cThe Penthouse: <a href=\"https:\/\/www.newsbeast.gr\/media\/tileorasi\/arthro\/12758734\/pavlos-evangelopoulos-ezisa-kakopoiitikes-syberifores-sto-retire-o-dalianidis-dimiourgouse-mia-atmosfaira-tromou\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.newsbeast.gr\/media\/tileorasi\/arthro\/12758734\/pavlos-evangelopoulos-ezisa-kakopoiitikes-syberifores-sto-retire-o-dalianidis-dimiourgouse-mia-atmosfaira-tromou<\/a><\/p>\n\n\n\n<p>\u201cI have experienced this situation in \u201cPenthouse\u201d and \u201cMicromeseioi\u201d under Giannis Dalianidis. He was such a guy; he created an atmosphere of terror on set. At the time, we considered it normal, because he was the myth that would call out to us, and we were nothing; we should listen and be disciplined. There were moments on the set when actors, much older than me and much more experienced, would burst into tears. I had even said at the time that after this collaboration, everything else would be like an amusement park. Of course, not to me, never. I want to say that I was a witness to the whole story, but without being the main recipient of this behavior.\u201d<\/p>\n\n\n\n<p>This testimony speaks volumes about how some steps the revered Greek live-action industry was\u2014and perhaps still is\u2014to mutate and build on <strong>tyranny, fear, and humiliation<\/strong>. Greece must confront its <strong>cultural self-harm<\/strong>\u2014not just the loss of animation, but the toxic creative environments that flourished in its absence. The Evangelopoulos interview is a starting point for this conversation.<strong> Reclaim Animation as Hellenic<\/strong>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Anime didn&#8217;t corrupt Greek values; it could have saved them.<\/strong> Its themes of sacrifice (<em>Nausica\u00e4<\/em>), loyalty (<em>Dragon Ball<\/em>), and fighting for a just world are deeply compatible with the best of Greek philosophy and myth.<\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong>Build a New Creative Culture<\/strong>:<\/li>\n<\/ul>\n\n\n\n<p>\u2022 Cage 1: The Live-Action Tyranny \u2014 Where heroes are ridiculed, women are damsels, and directors rule by terror.<br>\u2022 Cage 2: The Puritanical Backlash \u2014 Where any bold, aesthetic, or sensual art (like ecchi anime) is called \u201cimmoral\u201d by the same people who funded Manousakis\u2019s melodramas.<br>The Key: Greek Animation.<br>Imagine <strong>a Greek animation studio<\/strong> creating long-term animations:<\/p>\n\n\n\n<p>Project 1: A Greek school-life anime\u2014with uniforms, youth, and stylized beauty (ecchi\/fanservice as visual language, not sin).<\/p>\n\n\n\n<p><br>Project 2: A Greek kunoichi series\u2014a female warrior-mystic, the antidote to the \u201cdamsel,\u201d serving the nation with intelligence and power.<\/p>\n\n\n\n<p>Project 3: Magical Girls (Mahou Shoujo) ala Greek: Not only of stars and wands, but their powers could also be based on the Aegean sun or the Eleusinian Mysteries. The reaction to the pentagram or \u201cmagical\u201d symbols is a sign of ignorance, as geometry and symbolism are part of ancient Greek science (Pythagoreans).<\/p>\n\n\n\n<p>Project 4:The anime adaptation of the historical drama novella &#8220;Antones Stenemachites&#8221;, set in 1876 in Philippopolis (today&#8217;s Plovdiv), which is being targeted by both Turks and Bulgarians.  Calliope Papathanase &#8211; Mousiopoulou.<\/p>\n\n\n\n<p>Project 5:An anime adaptation of the fantasy isekai novel &#8220;THE DRAGONBORN&#8221;, by author Eriella Chrysou.<\/p>\n\n\n\n<div class=\"wp-block-comments\">\n\n\n\n\n\n\t<div id=\"respond\" class=\"comment-respond wp-block-post-comments-form\">\n\t\t<h3 id=\"reply-title\" class=\"comment-reply-title\">Leave a Reply <small><a rel=\"nofollow\" id=\"cancel-comment-reply-link\" href=\"\/index.php?rest_route=%2Fwp%2Fv2%2Fposts%2F2645#respond\" style=\"display:none;\">Cancel reply<\/a><\/small><\/h3><form action=\"https:\/\/mangaanimeblogger.com\/wp-comments-post.php\" method=\"post\" id=\"commentform\" class=\"comment-form\"><p class=\"comment-notes\"><span id=\"email-notes\">Your email address will not be published.<\/span> <span class=\"required-field-message\">Required fields are marked <span class=\"required\">*<\/span><\/span><\/p><p class=\"comment-form-comment comment-form-float-label\"><textarea id=\"comment\" name=\"comment\" placeholder=\"Leave a comment...\" cols=\"45\" rows=\"8\" maxlength=\"65525\" aria-required=\"true\" required=\"required\"><\/textarea><label class=\"float-label\" for=\"comment\">Comment <span class=\"required\">*<\/span><\/label><\/p><div class=\"comment-input-wrap has-url-field\"><p class=\"comment-form-author\"><input aria-label=\"Name\" id=\"author\" name=\"author\" type=\"text\" placeholder=\"John Doe\" value=\"\" size=\"30\" maxlength=\"245\" aria-required='true' required='required' \/><label class=\"float-label\" for=\"author\">Name <span class=\"required\">*<\/span><\/label><\/p>\n<p class=\"comment-form-email\"><input aria-label=\"Email\" id=\"email\" name=\"email\" type=\"email\" placeholder=\"john@example.com\" value=\"\" size=\"30\" maxlength=\"100\" aria-describedby=\"email-notes\" aria-required='true' required='required' \/><label class=\"float-label\" for=\"email\">Email <span class=\"required\">*<\/span><\/label><\/p>\n<p class=\"comment-form-url\"><input aria-label=\"Website\" id=\"url\" name=\"url\" type=\"url\" placeholder=\"https:\/\/www.example.com\" value=\"\" size=\"30\" maxlength=\"200\" \/><label class=\"float-label\" for=\"url\">Website<\/label><\/p><\/div>\n<p class=\"comment-form-cookies-consent\"><input id=\"wp-comment-cookies-consent\" name=\"wp-comment-cookies-consent\" type=\"checkbox\" value=\"yes\" \/> <label for=\"wp-comment-cookies-consent\">Save my name, email, and website in this browser for the next time I comment.<\/label><\/p>\n<p class=\"form-submit\"><input name=\"submit\" type=\"submit\" id=\"submit\" class=\"submit\" value=\"Post Comment\" \/> <input type='hidden' name='comment_post_ID' value='2645' id='comment_post_ID' \/>\n<input type='hidden' name='comment_parent' id='comment_parent' value='0' \/>\n<\/p><\/form>\t<\/div><!-- #respond -->\n\t<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the realm of fantasy literature, where imagination knows no bounds, Greece holds a treasure trove of talented authors who have crafted extraordinary worlds and captivating stories. However, it is disheartening to witness the silent scorn that these Greek fantasy authors often face in the artistic and publishing realms. <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kadence_starter_templates_imported_post":false,"_kad_post_transparent":"disable","_kad_post_title":"show","_kad_post_layout":"right","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"hide","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[22,31,23,34,130,26,275,202,27,28,30,40,29,38],"tags":[120,211,49,274,56,46,178,334],"class_list":["post-2645","post","type-post","status-publish","format-standard","hentry","category-manga","category-animation","category-anime","category-ashitaka","category-classic-anime","category-fantasy","category-greek-animation","category-hedcanon","category-japan","category-japanese","category-literature","category-mystery","category-otaku","category-virtue","tag-ghibli-studios","tag-anime","tag-anime-and-manga","tag-greek-animation","tag-japan","tag-light-novels","tag-manga","tag-334"],"_links":{"self":[{"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/posts\/2645","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2645"}],"version-history":[{"count":4,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/posts\/2645\/revisions"}],"predecessor-version":[{"id":2762,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=\/wp\/v2\/posts\/2645\/revisions\/2762"}],"wp:attachment":[{"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2645"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2645"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mangaanimeblogger.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2645"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}