12 Days of Anime is a great example of a project where you can learn more from failure than success. Specifically, I learned that when the team isn’t in a position to help I can probably accomplish about a quarter of what I need to. Also, there are many situations where optimism is appropriate, but time management limitations don’t fall under that. These are good lessons to take into a new year.
This is a post in the 12 Days of Anime blogging challenge! For others in our series please check out our main post. SPOILERS: Up to episode 37 of Twin Star Exorcists, general discussion of Nodame Cantabile A good rivalry is one of the most rewarding relationship types in shonen manga and anime. One reason Vegeta is such a compelling character in the Dragon Ball franchise is because he never stops trying to be better than Goku. Goku is often a less interesting character, in part because he trains mostly as a reaction to external danger or his internal motivation to get stronger, not in response to his peers. Mutual rivalry of the Naruto vs. Sasuke type is far more satisfying. Character A’s progress makes such a strong impression on Character B that they start working harder, getting results which lead to Character A redoubling their efforts… and so on. It’s a type of storytelling that links character growth with working towards an ambition. Put this through a filter for romantic relationships and you get the Nodame standard. (Not an official name, just what I’ve been calling it to myself – if it already has a name, please let me know!) In this type of relationship each person works harder as a direct result of seeing the achievements of the other person, all in pursuit of equivalent goals, the process of which brings them closer to romance.
This is a post in the 12 Days of Anime blogging challenge! For others in our series please check out our main post. SPOILERS: for the first episode of Grimgar of Fantasy and Ash The male gaze is a term from feminist film theory referring to how characters on screen are presented by the those behind the camera in order to put the audience in the position of heterosexual male viewers, whether they like it or not. It’s an established theory which has inspired a body of nuanced discussion on how this relates to spectators who aren’t white or heterosexual, for example, or filmmakers who aren’t heterosexual men. This post focuses on the core premise of the male gaze theory: on screen, men are active; they watch. Women are passive; they are watched. The premiere of this year’s Grimgar of Fantasy and Ash has a scene which contains both blatant examples of the male gaze in action and a moment which challenges the male gaze more directly than you might expect.
This is a post in the 12 Days of Anime blogging challenge! For others in our series please check out our main post. SPOILERS: General discussion of ClassicaLoid Episode 8 In episode 8, “Girls’ Day Out,” the ClassicaLoid ladies take some time off to unwind and open up. With humor, subtlety, and a dash of vinegar, their time together becomes an exuberant exploration and celebration of what it means to be a girl—and their answer turns out to be a happily inclusive one.
After a slapdash “why not?” carefully considered decision we’re going to give 12 Days of Anime a try! Popularised by Scamp and this year hijacked by appropriant, the rules are: Starting on 14th December, write about a moment of anime from this year each day until Christmas day. It doesn’t have to be from an anime that aired this year. It doesn’t even have to be something that happened in an anime. It could be how you went to a cow appreciation fair because you watched Silver Spoon. So long as it happened to you this year, it’s eligible. We’re narrowing our scope slightly: the subject has to be feminist-relevant in some way and must in some way relate to anime which aired for the first time this year. We have no plan, just a year’s worth of unshared thoughts to tap into, which we will be collecting in this post. If you would like to join in please check out this year’s post and add your content to the spreadsheet! If one of your posts has content you think feminists would be interested in, please let us know – we’d love to include it in our links round-up. Day 1: The art of a feminist-friendly premiere Day 2: Gals of All Stripes: ClassicaLoid & the Girls’ Day Out Day 3: Challenging the male gaze in Grimgar of Fantasy and Ash Day 4: Rivalry, romance and the Nodame standard Thanks to our generous patrons we are able to pay all writers in 2017! Next we need to be able to pay members of the team for their work behind the scenes, especially their time spent editing the work of paid contributors. If you appreciate our work, believe in paying content creators fairly and can spare just $1 a month please become a patron today!
This is a post in the 12 Days of Anime blogging challenge! For others in our series please check out our main post. SPOILERS: Minor spoilers for episode one of BBK/BRNK I’ve talked elsewhere about how I can switch off a show at the first sign of gratuitous sexualisation in episode one. It’s an easy way to put me and some other feminist viewers off. Now let’s talk about how anime premieres can draw such viewers in, using my favourite example from 2016: BBK/BRNK.
We first encountered Masaki through his video “5 Things You Didn’t Know About LGBTQs in Japan” in which he debunks popular myths about the real history and experiences of LGBTQ+ people in Japan. We linked to it here on AniFem, then started checking out his other videos and social media. Learning more about Masaki, it became clear that he could give us insights into the experience of being not just queer, but a queer activist and self-identified feminist in Japan. We knew we had to interview him, and he was kind enough not only to agree but to respond in both English and Japanese so that we could open this discussion to a wider audience. It’s been a goal of AniFem since the start to showcase the voices of people talking about their own communities, and we are thrilled to be able to start here.
Two weeks’ worth of links to make up for missing last week! AniFem round-up [Roundtable] Trash characters A feminist look at “trash characters” inspired by Chitose from Girlish Number, between seven members of the AniFem team. [AniFemTalk] 21-28 November 2016 Check out the comments for discussion on Kiss Him, Not Me!, Yuri!!! on ICE, Sound! Euphonium and Flip Flappers (thank you, Flip Flappers, for having no exclamation marks). [Feature] Your Name: Body-swaps beyond ecchi punchlines New contributor Hannah Collins breaks down the progressive and problematic ways Makoto Shinkai uses the time-honoured body-swap trope. (Spoilers for Your Name) [Update] AniFem will pay all writers in 2017 A breakdown of how much we will pay writers, how much we need to run sustainably and how important our $1 patrons are to us. [Discourse] Force Him, Not Me! Rape culture in shojo romance The result of commentary on our AniFemTalk post, this takes a critical look at how the actions of two of the love interests in Kiss Him, Not Me are presented and perceived. (Spoilers up to episode 9 of the anime and chapter 36 of the manga) [AniFem History] Noa’s Imposter Syndrome in Patlabor Lauren Orsini kicks off this new type of post, where we look at a character or situation from an older anime through a feminist lens. Announcing the Women in Sakuga Programme! All about our first collaboration, working with the team at Sakuga Blog to actively recruit, support and pay women (and anyone else who doesn’t identify as a cisgender man) to write about sakuga. [Update] Two months of AniFem How has it only been two months? We’ve accomplished a great deal, but we still have so much further to go… Beyond AniFem Cute ‘Kawaii’ culture may be holding back Japan’s women (Bloomberg) Akie Abe, wife of Japan’s Prime Minister Shinzo Abe, has spoken out about her views on women’s place in Japanese society. “”Men’s thinking has not changed,” 54-year-old Akie Abe said last week when asked how society’s attitude to women has evolved since she joined the workforce in her twenties. “Japanese men tend to prefer cute women over capable and hardworking women. So women try to appear to be the type that men like. Even very talented women put on cutesy ways.”” Transgender-themed “ECHOES” wins Takarajimasha’s “This Manga is Amazing!” Grand Prix (Crunchyroll) 28-year-old mangaka Ayumi wrote ECHOES, about the members of a women’s basketball team, in part from her own experiences questioning her gender identity from the age of three. “The first prize went to 28-year-old artist Ayumi’s transgender-themed manga ECHOES. It was chosen by the judges unanimously and its tankobon is scheduled to be published on December 10. Takarajimasha has published the “Kono Manga ga Sugoi!” ranking guidebook every year since 2005 and the Grand Prix Award was established in 2010 to contribute to the discovery and development of potential young manga artists who are able to join the ranking in future.” Anime’s fan service can be a minefield (Kotaku) AniFem’s editor-in-chief is quoted in this article, which covers a range of perspectives from western fans and lots of familiar ground for AniFem readers. “‘Progressive’-identified anime fans—myself included—judge fan service on a case-by-case basis, and often, can’t adhere to simple rules. The rules are broken over and over again as each new season of anime seems to include more fan service. Many fans with whom I spoke draw similar hard lines for not-okay anime—generally when an anime girl is sexually victimized to turn male viewers on, and when underaged girls are treated as sexual objects or points of attraction.” Top 10 Japanese gay films you need to see (Film Doo) Following on from her list of Japanese lesbian films, Sharon Calingasan returns with a list of films about gay men. “Japan has a reputation for being a conservative society, but with the passing of time and increased westernization, the country has started to open up, even in terms of sexuality. In the post-World War II era, gay films have started to be produced and made available to a wider audience. Let’s take a look at some of the more well-known gay genre movies that have caught the attention of local and global audiences.” Japanese transgender idol unit “SECRET GUYZ” overcome gender boundaries (Takurei’s Room) Rei at excellent site Takurei’s Room translated this interview from Japanese. “SECRET GUYZ, Japan’s first ever FtM idol group, is broadening the scope of its activities to spread understanding of sexual minorities as it cements its position as a ‘new generation idol group”. In addition to releasing their 6th single on November 30th, the group will hold a one man show on December 1st in Toyko. The group says, “Rather than raising awareness in a serious way, we want to get the word out through entertainment.”” The self-destruction of Karasuma Chitose (Andrea Ritsu) Andrea Ritsu takes an in-depth look at the character who inspired our trash characters roundtable. “What grabbed me the most [about Girlish Number] was the lead character, Karasuma Chitose… As the story progresses, we follow her rise to minor success and then face an eventual fall, all at the cost of her own arrogance and stubbornness. I wanted to further analyze the mindset of Chitose, as I found her behaviour unmistakably realistic and understandable, despite it often being rude or wrong.” (Spoilers for Girlish Number) Naoko Yamada: Filmed with the heart (Sakuga Blog) To celebrate her birthday, Kevin takes us through fan favourite Naoko Yamada’s entire career from her birth in Kyoto to her impact on animation powerhouse Kyoto Animation. “And so the young woman enamored with film and who’d recently finished a university course that somehow combined oil painting with the manufacture of art gadgets ended up joining a 2D animation studio right away, simply because she saw their leaflet on her campus and it felt right; considering she had already briefly worked at a bakery where she used her artistic skills to decorate cakes, perhaps this chaotic progression was the most fitting end.” The Allure of Gravure (Schoolgirl Milky Crisis) …
Anime Feminist is two months old today! This month we have exceeded $750 in Patreon pledges, committed to pay all our writers from January 1st, set up a new contributor process to make submissions easier and run more smoothly and launched our first collaboration.
We are very pleased to announce that Anime Feminist and Sakuga Blog are collaborating to add more diversity to sakuga content creation! Over the next 12 months we will work together to increase the recognition for and numbers of women blogging on sakuga through our new Women in Sakuga Programme (WiSP).
Welcome to Anime Feminist History, in which contributors take turns choosing an older anime series and examining a character, plot point, or scene under a feminist lens. This week, Lauren kicks off the column with a look at Noa Izumi in 1989 mecha show Patlabor! If most giant robot anime are based on masculine stereotypes, Patlabor is based on a feminine one. Usually, mecha are intended as weapons of war, but Labors (as their name implies) were originally intended for municipal tasks like construction and keeping the peace. Of course, we wouldn’t have much of a conflict without the Patrol Labor team using their Labors for the most ridiculous slapstick reasons possible. One of the biggest repeat offenders is Noa Izumi, an energetic, enthusiastic young policewoman who simply adores her “Pat-chan.” Nobody ever expects Noa to be a cop. It’s always played for laughs when Noa informs people (usually men) that she’s actually the pilot of that giant Labor standing over there. Noa’s position as a female protagonist also makes light of the trope that a woman needs to be twice as good as a man to get the same role. Ota Isao is a hothead who is often demonstrated to be laughably incompetent as a Labor pilot but he still has the same job and status as Noa. Usually, Noa’s okay with that. Even if Ota also gets to pilot his own Labor despite her being the one who constantly has to pull him out of scrapes, at least Noa can rest assured that she’s more competent than her teammate in every way. That is, until episode 36, “Noa’s Adventure,” when during target practice, Noa discovers that Ota is twice the marksman she is. He certainly has more experience with shooting—while Noa is hesitant to use her gun within city limits and risk harming the residents, Ota’s temper usually ends up getting the best of him. In “Noa’s Adventure,” it seems to Noa that everyone on the PatLabor team is growing and gaining skills except for her. So when she spots 10,000 yen bills floating downstream on her way back from a food run, she opts not to notify her unit about the potential police case. Instead she sets off by bicycle to apprehend the culprit herself. It’s a sweet episode that shows how much Noa’s teammates worry about and care for her when she doesn’t come back, especially the normally antagonistic Ota. But the major lesson of the episode is that Noa’s insecurities were all in her head. She doesn’t get so much as a slap on the wrist from the chief. And as Asuma points out afterwards, Noa already proved herself in spades during her pivotal battle with the Black Labor. Nobody doubts that she belongs on the team. Noa’s doubts in this episode show her falling into a common trap for high-achieving women—Imposter Syndrome, or the feeling that you are a fraud fooling everyone with a veneer of competence. It’s easy to see why Noa might feel this way when she’s so often treated as an equal to somebody as bumbling as Ota. When you have to be twice as skilled as a man to be considered as good as him, it’s hard to feel like you have any talent at all. Back in 1989 when Patlabor was created, it was more realistic to imagine a future with giant robots than one where women were treated equally all the time! But they were right; issues like Imposter Syndrome are just as critical to discuss today as they were then, especially for women. We still have to worry about whether we’re perceived to be as good as men doing the same thing. We still feel the pressure to keep our professional skills sharpened and stay ahead of the pack, especially as we get closer to an age when employers begin to assume we will become less career focused. Almost three decades later, Noa’s concerns are sadly still relatable, making this 1980s mecha anime surprisingly relevant to women working in the 21st century. Thanks to our generous patrons we have committed to paying all writers in 2017! However, we are still a little short of the $800 in pledges we need to be able to do that and are relying on you to help us hit that goal by December 31st. Almost half our patrons have pledged just $1 which adds up to a massive $80 every month, it’s an enormous help and appreciated more than you might realise. If you appreciate our work, believe in paying content creators fairly and can spare just $1 a month please become a patron today!
SPOILERS: up to episode 9 of the anime and chapter 36 of the manga Kiss Him, Not Me (the manga is being simulpubbed on Crunchyroll if you would like to catch up!) I caught up with Kiss Him, Not Me over the last few days because I heard that episode 8 had an Incident of Feminist Interest, which turned out to be sexual assault by an effectively unconscious person. When mentioned in last week’s AniFemTalk post, our community had a lot to say about the way sexuality, boundaries and consent were presented (thank you for your insights, commenters!), so I had to see for myself. Once you read this article you should definitely check out their thoughts, which cover a broader range of subjects than I raise here. In many ways, Kiss Him, Not Me is a perfect series for a feminist blog to explore: it does some things very well, some things very badly and inspires strong, mixed feelings. The response to episode 8 is no exception, and not all commenters will agree with my position here. That’s good. This is a discourse post, and the point is to host a constructive, interesting conversation from multiple points of view. Whether you agree or disagree, please come to the comments and tell me why!
On our 50th day AniFem made it to over $700 in pledges! To do so on a platform like Patreon, known as a beer money tip jar rather than a business model, is a pretty staggering achievement. Again, we started with no community, no name recognition, very limited content – and fandom has showed up for us, ensuring that we don’t have to rely on other income streams like affiliate links or ads. As a result, I am committing here and now to paying every single one of our writers in 2017, starting January 1st.