I intended for AMV Theater to be the articles I would write when I didn’t have other ideas, but now… it’s been almost two years since my last. Maybe it’s a good thing I have enough ideas to keep me from having to fall back on it, but I still believe in sharing the artistry of AMVs. Here is the return of AMV Theater, my series of AMV recommendations.
In honor of Pride Month, all these AMVs feature songs by openly gay or bisexual artists. Their music combined with LGBTQ characters and same-gender relationships, whether or not they’re “canonical,” is a beautiful thing.
Continue reading “AMV Theater: Pride Month”
This post has been long overdue, as the convention panel it’s based on was first held at Kumoricon in October of 2018. The Asexuality in Manga and More panel is a collaboration between myself and Modulus, my aroace friend.
Our Dreams at Dusk: Shimanami Tasogare, the latest manga by openly asexual mangaka Yuhki Kamatani, is finally available in English! This is only one of many increases in visibility of Japanese asexual people and representations of asexual identity in Japanese media. Let’s take a took at the emergence of asexual and nonsexual characters in anime and manga, as well explorations of sexuality and relationships adjacent to asexuality in other titles.
The rest of this post contains discussion of sexual assault, anti-asexual and aromantic prejudice, and potential spoilers for all series mentioned.
Continue reading “Asexuality in Manga and More”
In 2018, we introduced an anime convention panel called Rainbow Releases to highlight LGBTQ-related anime and manga coming to the United States in English. We plan to continue hosting this panel so long as there are LGBTQ titles to discuss and conventions will have us, and thankfully 2019 has plenty. Thank you to everyone who attended at Chibi Chibi Con 2019!
Last year we transcribed our midyear panel as a single blog post, which left out unprecedented works later in the year such as Zombieland Saga. This year we plan to keep a simple list of all releases on a Rainbow Releases: LGBTQ Anime and Manga of 2019 blog page, with in-depth blog posts looking back on each season as we move through the year. With all that said, here’s winter 2019!
Continue reading “Rainbow Releases: Winter 2019”
Today is Anosmia Awareness Day and I am anosmic, meaning I was born without a sense of smell. It hasn’t come up on this blog until now because anosmia is so underrepresented in fiction. There are minor characters here and there–Latula Pyrope in Homestuck, Aunt Selma in The Simpsons, etc.–and even then their anosmia is only briefly mentioned for humor or scent-related plot points. The penultimate episode of Futurama has close to a character arc about anosmia, in a parody of the 1931 film City Lights. In the episode, Zoidberg falls in love with an anosmic woman named Marianne who doesn’t realize he reeks. The episode doesn’t name Marianne’s condition as anosmia and she’s ultimately cured, but it does challenge the social construction of “bad” and “good” smells as she prefers Zoidberg’s odor to flowers. Even then, Marianne only gets one episode to herself. She’s only a parody of a blind character, not one envisioned as anosmic to begin with.
The story that’s spoken to me the most as an anosmiac is much longer, but more metaphorical. Kamen Rider OOO isn’t about anosmia per se, but does question what physical sensations have to do with making someone “complete.” In the 21st incarnation of the Kamen Rider tokusatsu television series, a young man named Eiji Hino transforms into the superhero Kamen Rider OOO with the ability to activate animal-themed medals. He was granted this power by Ankh, one of five ancient monsters known as the Greeed created by alchemists from experimentation with animal souls. The Greeed were designed as “incomplete” beings, made up of ten animal medals but “born” into consciousness through removal of the tenth. Four of them seek to recollect their core medals by creating monsters of the week, spurring battles with Kamen Rider OOO and Ankh.
This rest of this post contains spoilers for all of Kamen Rider OOO and related crossover films.
Continue reading “Taste, Disability, and Metaphor: De/humanization in Kamen Rider OOO”
To me, good art transcends what it is literally. I can point out a superb sentence, share the behind-the-scenes production details, break the plot down like a Wikipedia article, discuss the layers of authorial intent, but in the end, it’s always an attempt at articulating the ineffable qualities. Good art touches something inside us and rouses up emotion that feels bigger than ourselves. It’s an all-consuming, personal, and holistic experience that’s beyond simple explanation or lesson.
Maybe that’s why praising things I like in an isolated, non-fandom context can feel so flat. I always feel a combination of incoherent in trying to match the artistry of what I’m describing and embarrassingly simple of pointing out what seems obvious to me. Does this plate of food taste good? If it is, then why, how? It just is. There’s useful words like flaky, tender, sweet, etc. but it won’t be the experiences themselves, and that irks me, even when I’ve read critics I like, even when I know better.
But I want to practice. I want to tell others about the things I like just as well as I can tell other about the things I dislike. I want to share what art has made me feel greater than myself. I want to talk about good art that’s looked out for me, looked through me, and looked at me. That’s why I make these lists, when when they’re fairly late.
So let’s dive right in.
Continue reading “Malia’s Top 11 Movies of 2018”
Never Satisfied by Taylor Robin is a fantasy story set in a coastal town of magic, though not everyone has it. Our dear teen protagonist is Lucy (short for Lucien) Marlowe, a magician’s apprentice competing with other fellow apprentices for the government position of representative, a role of protection and power. However, there’s more than meets the eye when it comes to Lucy and this idyllic town.
Mild spoiler warning for chapter 5 of Never Satisfied. (Though I keep some things pretty vague.)
Continue reading “Windows into Webcomics: Never Satisfied”
December 14th of 2018 saw the release of not one, but two monuments in popular culture. One was the highly anticipated Spider-Man: Into the Spider-Verse, the animated film starring Shameik Moore as Miles Morales. Before the film’s premiere, Sony announced a sequel and a spin-off film in the works. Joaquim Dos Santos has been confirmed director for the sequel. At the moment, Lauren Montgomery is in talks for directing the spin-off. Dos Santos and Montgomery are fresh off their work as executive producers of Dreamworks’ Voltron: Legendary Defender, which had its eighth and final season on Netflix the same day Spider-Verse hit theaters. Spider-Verse was met with critical acclaim, while Voltron season eight was not. Response ranged from lukewarm to furious. After some fans of Voltron were frustrated with the death of a gay man of color character and other developments in season seven, many were left disappointed with the series ending (including the deaths of more characters of color).
A release date wasn’t all Voltron and Spider-Verse had in common, however. Without getting into spoilers, the plot of season eight and themes of grief bare a striking resemblance to those of Spider-Verse. It’s not that one is a rip-off of the other, but that they both aimed to tell stories about loss and family. What made audiences more receptive to Spider-Verse was its delicate consideration and authenticity of characters of marginalized groups. If the Voltron showrunners couldn’t carry out something so similar to Spider-Verse with the same praise, how are they supposed to follow it up well?
This post contains spoilers for Voltron: Legendary Defender and Spider-Man: Into the Spider-Verse. Also, a disclaimer: this is not meant as an attack on the showrunners (or any crew member) of Voltron as people. This is a critique of the TV show they produced and their role as storytellers.
Continue reading “What the Future Holds for Spider-Verse in the Hands of Voltron Showrunners”
It’s that time of year again. Karleen and Malia have rounded up their favorite (not necessarily the best) media of the year enough times now it officially has its own tag: Favorites of the Year.
Continue reading “Favorites of 2018”
It’s been one year since Devilman Crybaby, Masaaki Yuasa’s anime adaptation of Go Nagai’s classic manga, took the world by storm. Devilman Crybaby increased the presence of women in the main cast from a single girl named Miki to two both named, well, Miki. Although they share a name, they have distinct personalities and roles in the story. Miki can no longer be reduced to “the girl,” nor does one character have to represent all of womanhood. Between the Miki Makimura admired by her peers and the Miki Kuroda left behind, Crybaby paints a picture of how misogyny affects women deemed good or bad when they’re truly not so different.
This post contains discussion of rape, as well as spoilers for the original Devilman manga and Devilman Crybaby.
Continue reading “The Duality of Miki”
Banana Fish by Akimi Yoshida, at the time of serialization, was once a contemporary story. It began in 1985 and ended in 1994, while the timeline of the main plot spanned from 1985 to 1987. So in a way, modernizing the anime adaptation of Banana Fish to be set in 2018 is appropriate. Rather than a near complete replication of a story set in the 1980s, there can be a parallel story that integrates the ideas and themes to be timely like the original was.
However, updating Banana Fish raises some clear issues. The original manga is deeply 1980s, from its aesthetics to its politics, and if handled without care, you wind up with a story that’s already dated from the very start. It’s one thing for a story to be old; we still have centuries old classics. Plus, our suspension of disbelief can be higher when we know a story was from a different time. However, with an adaptation you’re already setting up a compare and contrast situation, to mix in modernization too, it’s key to think through what needs to be changed, why it needs to be changed, and how that affects the original story. This is different for all kinds of adaptations and renditions, but ultimately it can be done in a lot of fun, unique, creative ways. In the case of Banana Fish though, it’s all about the lack of change. Though the style and technology is there, the story ultimately feels like a rerun in different clothes. This especially feels like a missed opportunity with the legacy that Banana Fish has as a classic manga that tackles heavy social issues.
This isn’t to disparage the work put into the anime or to imply it’s a complete waste. Translating a story to a new medium is difficult work and there are plenty of parts I enjoyed. It’s at least introduced the story to new audiences, including me, and opened up new avenues to discuss it. In this spirit, I want to talk about some of the missed opportunities that the anime passed over when modernizing the manga in the context of the social themes Yoshida touches on. There are some issues that are thoughtfully examined in the manga but would be reflected differently in a modern setting, and other issues that weren’t examined as deeply as they could have been in an adaptation.
Spoiler warning for the end of Banana Fish, including the side story Garden of Light.
Content warning for discussions of police brutality and sexual trauma (including child sex abuse).
Continue reading “Ash Get iPad: The Perils of Banana Fish’s Modernization”