Where Aggretsuko season one mostly dealt with how Retsuko handles her emotions, season two instead explores the different ways in which men and women are allowed to express their anger in society, exposing a double-standard within the show itself.
Through both the character design and characterization of its three protagonists, Eizouken challenges a lot of the tropes that often loom over portrayals of nerdy, passionate teenage girls… and, if we’re being honest, teenage girls in general.
Throughout its 100-year history, yuri has uniquely evolved in and moved about multiple markets, often existing in many simultaneously. It is by and for a variety of people: men, women, heterosexuals, queer people, everyone!
There comes a time in every girl’s life where she’s obsessed with one thing: the occult.
Minutes before a high-stakes karuta match, Inokuma first must calm somebody who doesn’t respond to reason and certainly doesn’t know how to be patient for his meal. It’s a moment every new parent will experience at least once—when your own wants and needs butt heads with your obligations to your kid.
Despite a broad range of titles, when looking at Japanese media about cooking at large, I’ve noticed a frustrating gender imbalance between stories about professional male and female chefs. Stories about male chefs (most often in shounen manga) tend to center around their skill and on their prowess in the kitchen; while the professional lives of female chefs are downplayed in favor of focusing on a romantic storyline.
Fantasy is often described as escapism, but the genre has great potential to expose a reader to different perspectives on their own society while drawing them into an exciting new world. The Twelve Kingdoms novels by Fuyumi Ono truly show this. The world of the Twelve Kingdoms is a masterful example of a fully developed, politically complex, colorful and varied fantasy world.
Demon Slayer’s commitment to empathy thoroughly impressed me from the beginning of the series. However, Nezuko’s infantilization, objectification, and silencing throughout the season makes me worried the series may fall into the same traps as its shounen predecessors and contemporaries. Tanjiro and Nezuko share the same trauma, but only one is allowed to speak it.
Twenty years ago, I fell in love with the Pokemon anime. Now, I think I can finally tell you why: why this strange, silly, sincere show mattered. How it filled the space between “boy stuff” and “girl stuff,” treated both as having value, and challenged why there was a division in the first place.
Much like the wider idol industry, when it comes to virtual idols, the picture is mixed.
While Dragon Ball Z is best known for its epic battles and power struggles, the series has meant much more to me than that. It helped me as a man address problematic aspects of my life and expectations placed upon me that I had up until that point either neglected or outright ignored.
Bubblegum Crisis: Tokyo 2040 aired from 1999-2000, and I have recently discovered that I love it as much today as when I was a preteen girl with a deep hunger for ladies kicking ass.
Through its central cast of silly, snarky, kind, anxious, energetic high school girls, Nichijou not only showcases many common (and not-so-common) trials of adolescence, but also expands the narrow image of what it means to be a “normal” teen girl.
Violet Evergarden reimagines historical discussion of post-traumatic stress, early 1900s literary tropes, and the popular “war narrative” genre, but with a female child soldier as its protagonist. In its remixing and calling back to World War I history and especially women’s history, the series provides a fresh take on an old tale with a strong undercurrent of feminist themes.
As a main character, Oscar is an all-encompassing figure who struggles with gender roles, duty, empathy, and more. But with Marie Antoinette and the women who act as villains, we see a more traditional exploration of female power, ambition, and anger.
Kingdom Hearts’s cast and audience may have grown up, but its tired “boy saves girl” gender politics remain just as outdated as they were when the franchise first launched.
Sword Art Online author Reki Kawahara has publicly stated he wants to improve the representation of female characters in the series… and this is something that’s already observable in his more recent novels. Let’s take a closer look at what Kawahara said and how the series has improved over time.
When I saw Junko Mizuno’s work for the first time, I didn’t really understand the display of squat, adorable girls in lingerie acting violently or brazenly. But the imagery remained with me, a fascinating question at the back of my mind: could this be for me?
SPOILERS: This article covers episodes 1-29 of Hugtto! PreCure. The magical girl genre as a whole is often stereotyped as blatantly feminine. Characters fight in skirts and frills, love and kindness save the day, and our magical protagonist is almost consistently covered in pink. As a whole, the genre seems to play off of gender […]
The Team Rocket trio have never been your typical villains. So perhaps it’s no surprise that their special backstory episode defies as many conventions as they do, taking the classic team origin story and turning familiar gendered archetypes cleverly on their heads.
