Curses and True Forms: Reading Fruits Basket as a lesbian
As a lesbian, Fruits Basket was not written for me. Even so, the romance between Kyo and Tohru resonates deeply with my experience of queerness.
As a lesbian, Fruits Basket was not written for me. Even so, the romance between Kyo and Tohru resonates deeply with my experience of queerness.
Any story that wants to explore this darker side of humanity must be willing to explore how doing horrible things affects the world and people around you, or it risks trivializing the true horrors of the darkness it depicts.
I’m in Love with the Villainess starts out as a silly isekai romance but grows into a story that earnestly advocates for queer people, taking on complex subjects like homophobia, transphobia, and classism. However, the story’s reliance on messy tropes can sometimes muddle its messages.
Looking at these series side by side, we can see the same archetype and corresponding fantasy of the scarred, strong yet secretly sad man being nursed emotionally by a female love interest play out in different hues for their specific target audiences, in all its glories and pitfalls.
This series has always been queer, it’s just been handled in different ways, with earnest character writing that nonetheless reflected the stereotypes and assumptions of the early 2000s, before unfolding into a more careful, nuanced narrative of sexual fluidity and love in the 2020s.
In the hands of a writer who isn’t so brazenly disinterested in writing them, the women of Death Note—Misa, especially—easily have the potential to be the most interesting characters in the deeply iconic series. But as it stands, they’ve been massively shortchanged by writing that presents plenty of fascinating story elements for them, but that never get explored.
While there is a rise in polyamorous romance in Japanese anime and manga, I must regretfully report we still have a ways to go.
Unlike many other gender-bending stories of the time, which often fall back on a “born in the wrong body” story, or a Mulan-style passing narrative, Ikeda acknowledges a wide range of trans experiences, and the complex ways in which trans experiences are socially constructed, and historically specific, intersectional, and, above all, personal.
We were able to sit down with Aiba for a gregarious and sadly brief conversation to discuss writing relationship dynamics, greater awareness of LGBTQ+ issues, and her latest work.
The author, illustrator, and character designer has created some of manga’s best-loved shoujo works by combining the aesthetics of fantasy aimed at young girls with complex themes.
Despite the lack of a love story between the protagonists, however, Buddy Daddies can still be read as a queer series. While queer relationships in mainstream media are often defined by romantic and sexual attraction, Buddy Daddies stands out because it examines queerplatonic relationships, which is rarely depicted even in LGBTQIA+ storytelling.
We spoke with Watari about his wonderful trash girl heroine Chitose, adapting The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, and his future plans.
As I took in each new part and new Jojo, I became increasingly invested in the story and characters, and when Stone Ocean was finally adapted, Jolyne was everything I’d hoped for and then some; however, because the source manga has been around since the late 1980’s, some parts, particularly early on, haven’t exactly aged well. It’s too big a franchise to cover in every detail here, but its biggest issues feel worth discussing alongside its strengths.
Classic shoujo has a hard time being exported, especially in the Anglophone sphere, and in pop culture discussions it’s generally been reduced to a subpar category of comics when compared to the high-praise shounen manga are known to receive. However, her value as a multifaceted artist and storyteller should be valued as much as other prominent authors from the ‘70s and ‘80s.
NEJIGANAMETA’s manga Ladies On Top is a cute, sexy josei romcom about the crushing pressures of heteronormative gender roles. I know, the emotional trauma inflicted by society’s narrow expectations about acceptable masculinity, femininity, and sexual desire doesn’t sound very cute or sexy, but trust me when I say Ladies On Top weaves these themes together effectively with its fluffy romance.
Yuri and the wider GL community has an increasing reach that seems to be growing each year, and it’s worth examining the ways in which the increased variety of yuri stories are representing different kinds of love and relationships. Love can be so many different things, after all, and it’s gratifying when fiction reflects that—not to mention how it opens new possibilities for storytelling and discussions of relationship dynamics.
Lolita fashion has been part of Japan’s rich alternative scene for over 40 years. It is a celebration of self and is intended to provide a ‘hyper-femme space’ away from the imposition of the male gaze. Not to be confused with Vladmir Nabakov’s (1955) Lolita, this movement actually uses the word “lolita” to mean frilly “French-inspired” fashion. A big influence on lolita fashion is kawaii and Japanese “girl culture” which is for anyone of all genders and ages.
Even as someone who loved the show in the past, I’ve found myself becoming more of an onlooker these days. I suppose it’s because I can no longer keep from opening Pandora’s box and exploring the problematic traits of Inoue Orihime, a character whose screen time grows in line with the misogyny of her portrayal.
Dee, Alex, and Cy discuss asexual and aromantic coded characters and several new manga with explicit ace and/or aro leads.
While still tangled in fan service and horny comedy, My Dress-Up Darling’s depictions of masculinity and the sexualization of its female characters are typically leaps and bounds above many of its genre counterparts.