While Kill la Kill was all about clothes and the way commodification objectifies bodies, it missed the opportunity to talk about the rich history of rebellion using fashion. And moreover, it failed to interrogate the real villains running the show.
Chainsaw Man, a Shonen Jump series by Fujimoto Tatsuki, has its main character, Denji, realize the value in having a strictly platonic relationship with the leading female protagonist, Power. How Denji reaches this conclusion is incredibly messy and more than a little frustrating in places; which is to say that it epitomizes the uncomfortable struggle of navigating platonic relationships with someone you have the potential to be attracted to, a common aspect of growing up for many, and it’s both heartwarming and validating to see a character experience this part of life in a shounen manga.
Swan, which ran in Margaret from 1976 until 1981, follows Hijiri Masumi, an average high school girl from rural Hokkaido, who through the course of the series becomes famous as a modern ballet dancer. One of her key relationships is her friendship and rivalry with Lillianna Maksimova, a Russian classical ballet prodigy. This relationship uplifts them both, as the series uses Lillianna as an avenue to explore just how harmful and restrictive gender roles and expectations can be.
Over the years, the number of lady action heroes has slowly but significantly risen. And this is a good thing… for the most part. But the ability to enact violence shouldn’t be the only way we define our heroes, regardless of gender.
It soon becomes clear that within Hyakkaou Academy, it’s the women who get shit done. That was where I found what had first caught my interest in the first place: the women of Kakegurui.
1122: For a Happy Marriage examines two different married couples that are pressured to adhere to gender and allonormative roles within marriage, which ultimately damages their marital relationships.
The popularity of women authors like Itagaki, Takeuchi, Takahashi, and Arakawa led to their work being adapted into similarly successful anime. But most of these anime, if not all of them, were directed by men.
One of the biggest gripes I have now with Free! is the amount of fanservice the show throws at you. While the perfectly sculpted muscles of the main male cast is what led to the show’s boom in popularity, it has also caused harm for the show.
Despite its flaws, Free! remains close to my heart as a show full of relatable and raw emotions. There’s been times where I’ve shed tears along with the characters on screen, and also deeply sympathized with their hardships.
Paradise Kiss is one of the great josei manga classics, but subsequent versions of the story erode the focus on its lead’s agency that make the original so special, serving as a prime example of how different framings can tell the same plot and lose all of the effectiveness.
In the past few years, the villainess has seen something of a renaissance. Rather than being the subject of ridicule or comeuppance, she’s being celebrated, given the opportunity to come into her own as the subject of an emerging theme in an ever-expanding field of light novels, manga, and anime. Today I’d like to talk a little bit about these ojous: who they are, where they come from, and why in the 21st century their success demonstrates an alternate world where being smart, hard-working, and kind gets you far.
Princess Nine wants to be an empowering lady-led sports anime, but it can’t quite shake off the gendered expectations about what girls “really” want or who society thinks they’re “supposed” to be.
Although marketed toward boys, at least one third of Weekly Shonen Jump’s readers are now female. Despite this, Shonen Jump’s female characters remain over-sexualized, helpless, or useless beyond serving a role as the main character’s love interest. The manga and anime world has not yet caught up with the times by creating female characters that are both realistic and sympathetic to their real-world counterparts, and as prominent and important as their male costars. If one in three readers are female, why are female characters still relegated to the sidelines?
Your Lie in April has high ratings on almost all of the major anime databases. Unfortunately, I, the Feminist Killjoy, am here to say that Arima has an Oedipus complex and Kaori is a Manic Pixie Dream Girl.
While Rachel did do many things wrong, and this is definitely not a defense of that (especially as she is coded as a blonde white woman in the art), her character’s depiction can open a larger discussion about portrayals of female antagonists, and patterns of online fandom misogyny.
Hayashida may not be the only female seinen mangaka – there’s Mori Kaoru and Urushibara Yuki, authors of A Bride’s Story and Mushishi respectively, to name just a couple – but she is certainly unique among them. While female-written seinen manga spans a wide array of genres from historical dramas to cooking comedies, Hayashida stands apart from the rest due to her focus on gruesome body horror and gleefully graphic violence.
A distinct antiauthoritarian spirit runs through Imaishi’s works. Yet nowhere is the director’s call for collective action more realized, but most glaringly compromised, than in the show that made him a household name: Gurren Lagann.
Black women always have to be strong. Society thinks we have some superhuman ability to withstand trauma. We are depicted this way all over the media to devastating results. I want to talk about Casca, a character who stands as the antithesis to this extremely harmful stereotype.
The game’s cast is gender balanced, with a roughly equal number of male and female characters, and the female ones play an important role in driving the story. While that sounds great on paper, the problem lies in the gender-essentialist ways that “importance” works out.
For every manga and anime from the 1980s and 1990s that promoted conformity to society and obeying the rules, there were many others that instead featured delinquents as protagonists and found popularity among readers who inherited an economy pulverized by their parents.
Even now, with the vast increase of explicit queer womxn’s representation on television over the past decade, I still see myself in Sailor Moon and The iDOLM@STER more than I see myself in Orphan Black.
