Between my feelings about the ending of the third game, the drama surrounding its production, and the series’ long-standing controversies, I just felt drained as I watched Bayonetta 3’s credits roll. Which sucks, because the previous two games left me feeling nothing but energized and wanting to be a bolder, braver version of myself.
At its very core, MP100 is a show that despises violence as the main means of resolving interpersonal issues, and instead invites its audience to understand each other. In fact, it rejects the mere idea that being more powerful than your enemy is a net positive, or that having special powers makes anyone better altogether. Violence, the series posits, should only be used as a last resort.
For better or for worse, there’s nothing quite like Vampire Knight out there. Revisiting the series today—about 15 years after its release—reveals not only a lot of its shortcomings, but a lot about the cultural context in which it was released.
Tropical-Rouge balances historical attitudes with refreshing, contemporary ideas that grant its young female characters agency and thus delivers a great message to its target audience.
By their very nature, these series’ protagonists are driven and motivated young women—motivated by something other than romance and men—who experience visible development across the narrative. As a bonus, the relaxed vibe and personal stakes of this genre means that realistic dangers are removed and these characters are left in idyllic spaces where they have autonomy over their time and their surroundings.
Adultification not only works against Black and Brown women and AFAB folks in our society today but also contextualizes aspects of Anthy’s story more clearly.
Going into it hoping to experience an underappreciated classic, I was met with a series that routinely undervalues the very women that define its main appeal, to the point of ritualistically torturing them on-page and treating what makes up their person as disposable.
Aggretsuko isn’t just about the pitfalls that come with growing up and accepting responsibility. It’s about the pitfalls that come within the exploitative system of capitalism.
Bleach means quite a lot to me. It’s the foundation for so much of my work as an artist and writer that breaking it down into its smaller parts would be very difficult. Reading it carried me through high school as a deeply insecure, deeply in-the-closet teenager, and even through early college when the series ended in 2015.
Despite its fantastical shoujo setting, The Story of Saiunkoku is no traditional fairy tale, and the sexist hurdles Shurei faces to achieve her dream of becoming a civil servant are much closer to unjust reality than escapist fiction. This allows the series to explore systemic oppression, workplace harassment, and the importance of structural support, especially in systems that claim to be merit-based.
Ultimately, the game universe makes clear that “facing yourself” is more concerned about fitting into society than personal growth. And though individual characters may seem to subvert normative expectations of gender and sexuality, the game ultimately reifies those roles, forcing all characters into societal norms that stand contrary to the glimpses of their more rebellious authentic selves.
Through its characters and their relationships, MY love STORY!! supports a vision of masculinity where boys and men can be openly emotional and not be shamed for it.
Few adaptations miss the point of their source material as brazenly as Christopher Yost’s series. There are many avenues to critique it from, ranging from casting decisions to direction to the script itself, and much ink has already been spilled on all of these. But it’s prudent to get even more granular. If we trace each individual influence behind both Bebops, the fundamental failings of the Netflix show become even more apparent.
I watched Pokemon: Diamond & Pearl during elementary and middle school, and Dawn became one of my all-time favorite characters. This might seem a little strange given that Dawn was a girl who loved pink and dresses, while I was a girl who rejected all things feminine, including my “girly” classmates. However, I realize now that I adored her so much because she challenged my conceptions of what femininity could be.
Miscommunication as narrative conflict is often linked with contrivance and bad writing—and no genre faces this criticism more than romance. That’s what makes Yuri is My Job! so refreshing. In the process of building a will-they-won’t-they story, it explores the gendered, neurotypical, and heteronormative expectations that are built into social interaction.
Holo and Lawrence’s relationship is initially held back by the circumstances upon which they first meet, rendering Holo as an owned object rather than an equal companion and stifling both leads’ feelings behind layers of performative inauthenticity. Part of the appeal of Spice and Wolf is watching these two characters overcome the gendered norms of their medieval setting, as well as their own personal flaws, to achieve an emotional reciprocity that is narratively satisfying.
Spy x Family is a great example of how a story might have queer resonances and queer themes even if it cannot be classed as queer fiction.
The Disastrous Life of Saiki K is a hilarious supernatural comedy in which a cast of teenagers tries to live ordinary lives amidst extraordinary shenanigans. The female characters are three-dimensional and compellingly written, often just as expressive, funny and absurd as the boys. Although this potential is often well-utilized, narratives on the show that involve male attraction often sacrifice the depth of the girls, for the sake of sexualized scenes and lazy punchlines.
The roles and characterization of main characters Balsa, Tanda, and Prince Chagum make gender equality seem natural, and therefore powerful, even if their story takes place in a patriarchal system.
While many people can maintain a healthy relationship with them as entertainment personalities, others developed an unhealthy level of parasocial attachment, particularly to the female creators. These parasocial fans have caused incident after incident, making the space unsafe to VTubers and the audience alike, and are even suspected to have caused some of them to “graduate,” or retire from streaming. The most infamous of those incidents is the case of Kiryu Coco.
