Shine and shadow: Unpacking favoritism in ‘Shogun’ and ‘House of Ninjas’

Hollywood has a samurai fetish. Whether it’s “Kill Bill,” “Westworld” or the acclaimed new FX remake of the “Shogun” miniseries, samurai often prove to be a one-way ticket to pop culture cool — and thus given a glamorous portrayal.

This is starkly different from the depiction of ninja, even in the recent, skillfully produced Netflix series "House of Ninjas." This divergence is remarkable, considering the ninja likely sparked many of our initial "Japan is cool" moments in childhood.

The entertainment world's differing representations of the two iconic figures, however, align with the true-to-life Japanese experience with the samurai and ninja: The former were the glitterati of the warrior class, decked in shiny armor and touting to the strict ethos of Bushido, and the ninja were seen as dishonorable.

Often emerging from lower socioeconomic backgrounds, a ninja’s role involved the darker arts of enemy neutralization — tasks that required a wardrobe for stealth, not boasting. An all-black attire enabled them to blend into the shadows, concretely and metaphorically, as the hidden movers of feudal intrigues.

There are, of course, plenty of pop culture representations where ninjas are portrayed favorably, from American franchises like “Teenage Mutant Ninja Turtles” (it was announced last month that Paramount is developing the turtles' gritty comic miniseries, “The Last Ronin,” into a live-action film), and Japanese ones like “Naruto.”

Ninjas have also been frequently referenced in music, particularly in hip-hop, which is understandable as their minimalist approach embodies a raw, understated coolness. Their allure lies in their simplicity and effectiveness, making them a compelling emblem of stealth and danger.

But the esteemed samurai and the subordinate ninja largely persist — which is why it’s interesting having recently seen them battle for our attention in FX’s “Shogun” and Netflix’s “House of Ninjas.”

While the former is set in the 1600s, the latter, which stars Kento Kaku (who also directs, alongside American showrunner Dave Boyle), takes place in modern-day Tokyo — suggesting that ninjas still exist in Japan, essentially working as slaves for a secret government agency. Both series, whether it’s through the respect afforded to a historical drama or the underdog narratives given to a family one, wind up reflecting Japanese perceptions of their characters.

The sympathetic shinobi (ninja) family in “House of Ninjas” is tethered to a life dictated by unfulfillment, denied even the basic freedoms of choosing a lover — a contrast to the samurai class of “Shogun,” who enjoy the pleasures and spotlight of the nobility. All the while, the activities of the shinobi in “House of Ninjas” remain relegated to the shadows, literally. In fact, that’s one criticism of this otherwise well-made show: The fight scenes are often too dark to see.

Both series feature fine acting and nuanced characters, but the continued idealization of samurai and the sidelining of the ninjas highlight a cultural memory venerating a sort of testosterone-driven alpha elitism over much more sophisticated covert action.

To its credit, “House of Ninjas” includes self-satire, such as the employee at the secretive Bureau of Ninja Management who documents ninja portrayals in pop culture, media and entertainment — often seen playing with ninja figurines, reading comics and eating junk food. This character is also a misfit: a nerd tasked with observing a dishonorable figure. This suggests the show and its creators know that the ninja deserves better.

And “House of Ninjas” partially succeeds in elevating its subject. But the main characters are still walking through shadowy lives with heads hung low. The ninja will always remain somewhat of an underdog, which is part of their appeal. But Hollywood (and J-Hollywood) would benefit from focusing less on the popular kids, and giving the ninja their due.

It would be refreshing to see a dignified shinobi; not as government slaves, mutated turtles or outcast tweens. Hopefully, “House of Ninjas” is paving the way for that. While ninjas certainly are lethal, a fairer representation wouldn't hurt anyone — except, perhaps, the samurai.