Rena and Shion originally appeared in direct counterpoint to the then-oversaturated moe tropes of the time; however, what began as subversion would become an archetype all of its own, for better or worse.
Yuri’s assault on Ringo is emblematic of how the tensions and arguable flaws in Penguindrum point to larger tensions and unresolved questions in our movements for transformative justice, abolition, and queer liberation.
Otherside Picnic makes a wonderful addition to the canon by centering queer love and examining how survivors of abusive relationships can heal from their pain and trauma in order to move onto healthier relationships.
Thoughts on name changes, transition, and how Shirono Honami’s I Want To Be a Wall is a reminder that we can shape our own barriers and boundaries.
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.
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.
The series’ use of transformation and body horror resonate with the physical experiences of dysphoria and transitioning; its depictions of mental health struggles, particularly self-harm and suicide, may find special meaning with trans audiences; it thematically explores names as potential sources of both trauma and self-actualization; and the characters of Haibane Renmei strive to build a safe community that promotes healing and growth. Yet I have never seen this two-decade-old series discussed through a trans lens, despite the wealth of potential it has to offer. That ends today.
When I first watched Love, Chuunibyou and Other Delusions I had no idea what “chuunibyou” was, but the anime quickly made me think: I was definitely a chuunibyou as a kid! While not a form of mental divergence in and of itself, I contend that for neurodiverse kids, chuunibyou can be a coping mechanism.
Tsukushi faces more than just bullying from her peers and the controlling grasp of Domyouji. She also must carry the additional burden of financial instability and the pressure from her parents to marry a rich man in order to resolve their money problems. This situation forces her through the psychological process of parentification, molding her into a spirited and resolute character that I came to love.
Ruminations on everyone’s favorite motorbike anime, the pandemic, and my favorite topic: liminal spaces.
Though often shown empathizing with and caring for Emilia, Subaru is also manipulative and controlling towards her. Re:Zero highlights these contradictions to create a portrayal of what is often the actual problem with Nice Guys: the assumption of commodifying good behavior for the return of love or sex, and the sense of entitlement or control over the person they like that often stems from it.
Many criticisms of moe characteristics stem from the idea that these girl characters are created to be appealing to male viewers, and therefore cannot be relatable to any real woman in the audience. However, so-called moe series have yielded several characters that are extremely relatable to the neurodiverse female experience.
Since his introduction, despite the fact that he’s a character quite hated by the audience, I’ve loved the Earl Alois Trancy as a multi-layered character that carries many intertwined themes around child abuse, queerness, genre influences and slut-shaming.
The narrative takes care to demonstrate that Tohru has her own issues, and highlights that her relentlessly positive attitude and her devotion to putting others before herself is not healthy. Ultimately, Fruits Basket explores and unpacks the harmful side of her relentless positivity as one of many healing stories across the series.
Just as the dreamscape Wonder Killers provide a convenient and killable representation of the issues that harm young people, the writers of the show invent a convenient “monster” and pin the blame for those very issues on her. As a result, a lot of the nuance in the series’ treatment of trauma and suicide is lost.
No one has ever asked whether Samurai Flamenco is good, because the question is a loud and simultaneous “no” and “yes.” But the question of whether it “counts” as queer romance has waged on for eight exhausting years now. Incidentally: yes, it does.
ADHD is often maligned as strictly a lack of the willpower necessary to concentrate, or a simple inability to ignore distractions. But through her investigations, Chitanda exhibits behaviors characteristic of ADHD that contribute to, rather than hamper, her ability to lead herself and others.
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.
Evangelion takes place in the year 2015. Misato, 29 at the start of the anime, would have been born in 1986. With this knowledge, both American millennials and the members of Japan’s Lost Generation who came of age following Japan’s economic recession in the ‘90s may joke about how Misato is a millennial stereotype. However, this goes beyond a meme and into a message about processing pain, pressure and grief.
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.
