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. As of this post’s publication, we don’t have plans to host Rainbow Releases as a panel at any future anime conventions. We’re unsure when it will be safe to attend conventions again, or safe to be held at all. For now, Rainbow Releases will remain as our list of titles throughout the year and seasonal recaps such as these.
The third episode of the second season of Fruits Basket backtracks to chapter 36 of the manga, in which Tohru Honda and Yuki Sohma visit Ayame’s costume boutique. That’s ten chapters before the previous episode, for those keeping track like me. The disparity between the anime and manga timelines has been apparent since Mine Kurame’s cameo in the second opening of the first season, and they’ve nearly caught up with her official introduction. “Shall We Go and Get You Changed?” adapts chapters 36 and 47, in which Yuki and Ayame discuss parent-teacher conferences, of the manga.
The combination has a lot to cover: Yuki and Tohru’s blossoming relationship, Yuki and Ayame’s shared history as well as newly forged brotherhood, and Mine’s introduction. All the while, it notably doesn’t contain a single reference to the Chinese zodiac nor the curse upon the Sohma family. With almost all the zodiac introduced and transformations no longer necessary to show their corresponding animal, Fruits Basket begins to move on from the physical effects of the curse to the psychological. In this case, we look at how brothers Yuki and Ayame fare differently as members of the zodiac.
This post contains discussion of child abuse, homophobia, and transphobia.
The second season of Fruits Basket continues with its second episode “Eat Somen with Your Friends,” and so does this weekly recap and analysis series. With anime production across the industry up in the air and more shows postponed due to COVID-19, it is unclear how long Fruits Basket season two will last. The first three episodes were completed back in March to run in US theaters, but the rest of production is unknown. For now, I plan to write these recaps as long as the show stays on streaming sites, but I understand if production will be suspended.
“Eat Somen with Your Friends” merges manga chapter 46, in which Tohru and Kyo discuss their futures with a career plan assignment in mind, and 52, in which Tohru and Kyo visit Kazuma’s house for lunch. Like “Hello Again,” the combination comes naturally through shared characters. Together, they underline the uncertainty Kyo and Tohru share over what lies ahead. While the last episode looked at Yuki’s character development, this time we marvel at how far our other leading man has come and where he will go with Tohru.
The first episode of the second season of Fruits Basket, the series about a teenage girl named Tohru Honda who befriends members of a mysterious family cursed to transform into animals, has been released to the world. I wish I could say I saw the new episode at one of Funimation’s “sneak peek” theatre showings in the United States decked out in Machi cosplay and Yuki merchandise, but they were all cancelled due to the COVID-19 pandemic. Instead we’ll be watching scenes from the original manga animated for the first time every week together.
As a longtime fan of the manga by Natsuki Takaya, the way “Hello Again” perfectly ushers in the second season’s new material (especially regarding Yuki Sohma) has me hyped. In honor of the second season, this will (hopefully) be my first in a series of posts recapping and analyzing each episode. I may as well write something regularly while I’m staying home. This time the spotlight is on dear rat boy, his future, and his new friends. Newcomers and fans of the 2001 anime series will soon find there’s much more to Yuki than the early episodes.
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. Thank you to everyone who attended at Chibi Chibi Con 2019, Sakura-Con 2019, and Kumoricon 2019!
For 2018, we transcribed our midyear panel as a single blog post, which left out unprecedented works later in the year such as Zombieland Saga. Since then, we’ve 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.
Unfortunately, we won’t be hosting Rainbow Releases at Sakura-con 2020 as the convention was cancelled due to the COVID-19 pandemic. Here is the list of anime and manga that would have been touched on in our presentation. The future of convention panels, anime production, and physical book releases are uncertain, but we will continue to update our blog with seasonal recaps of what makes its way to the US.
At long last, here is our recap of LGBTQ-themed anime and manga from the autumn season of 2019! With that, all of 2019 has been covered.
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, Sakura-Con 2019, and Kumoricon 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.
Without further delay, here is our recap of LGBTQ-themed anime and manga from the summer season of 2019! Better late than never?
On this day last year, the awaited final episode to Studio MAPPA’s anime adaptation of Banana Fish aired. Some viewers had dreaded it ever since the anime’s announcement, some learned along the way and joined them, and some watched it unfold without spoilers. They dreaded it not because they’d be left with no more episodes to watch, but because of the nature of the ending.
The rest of this post contains spoilers for Banana Fish and brief discussion of child sex abuse.
This post contains spoilers for Mobile Suit Gundam, Mobile Suit Zeta Gundam, Char’s Counterattack, and Fruits Basket.
In honor of Mobile Suit Gundam‘s 40th anniversary, the 1988 feature film Char’s Counterattack from the Universal Century timeline had a limited theatrical run in the United States. Char’s Counterattack is many things: a spectacle of animation, the end of an era, a divisive film. It brought a close to the story of Amuro Ray that began with 1979’s classic Mobile Suit Gundam, at least until more continuations came along. Amuro survives the One Year War piloting the first Gundam, albeit traumatized by war. His inadvertent murder of Lalah Sune, an enemy soldier he nonetheless emotionally connected to, haunts him in particular. He lives on to fight in the Gyrps Conflict featured in the 1985 sequel Mobile Suit Zeta Gundam. Alongside him stands Char Aznable, the commander and mentor of Lalah, whether as an enemy in year 0079 or ally in 0087.
Lalah loves both Char and Amuro, devoting herself to the former and regretting she met the latter “too late” to truly connect to him. At first, this “love triangle” seems resolved through Lalah’s demise. She cannot choose between them if dead. However, she lingers in their minds, in memory as well as a literal ghost. The loss of Lalah fans the flames of Amuro and Char’s rivalry, which continues to evolve.
The rest of this post contains discussion of sexual content and child grooming.
Reo Niiboshi and Mabu Akutsu, a pair of fictional police officers, debuted in the manga Reo and Mabu: Together They’re Sarazanmai by Misaki Saitou. While they spend their days raising a lost child named Sara in Reo and Mabu, they appear as antagonists transforming humans into zombies of desire in the following Sarazanmai anime television series. The second episode of Sarazanmai reveals their process of creating zombies (offering humans to the Otter Empire while dancing), as well as the fact Mabu has a mechanical heart that runs on desire energy.
The anime leaves Mabu’s robotics ambiguous, resembling both cyborgs and androids. His heart is definitely mechanical, which alone would make him a cyborg, but the rest of his body is unclear. His chest turns transparent and Reo extracts his heart from it without bloodshed. He may have more mechanical organs, based on the Chief Otticer tinkering with his insides during “maintenance” surgeries. The Chief Otticer and Reo refer to Mabu as a “doll” as if he were entirely artificial. Sarazanmai doesn’t focus on robotics, but it has a place in robot fiction with how Mabu being a “doll” affects his relationship with Reo.
The rest of this post contains spoilers for Sarazanmai and discussion of ableism.
In 2019, director Kazuhiro Furuhashi and series composition writer Yasuko Kobayashi adapted Osamu Tezuka’s classic manga Dororo to television. They not only lengthened the story, but brought it to completion more than the rushed ending of the original manga. It still follows Hyakkimaru, a young man seeking to reclaim his stolen body parts from demons, and Dororo, a rambunctious thief who looks up to him. Rather than potential for disability in the premise, Dororo (2019) focuses on issues of autonomy and justice by framing Hyakkimaru’s quest as morally driven. He retaliates against a corrupt leader willing to steal the livelihood of another and aims to take back what is rightfully his, which distracts from the potential ableism of aiming to be “cured.” Still, they missed the opportunity to incorporate the rights of disabled people into themes of autonomy and anatomy.
Instead, Dororo (2019) looks at how Hyakkimaru’s body parts were supposedly sacrificed for the greater good. The central ethical issue also rests in “The Ones Who Walk Away from Omelas,” a science fiction short story by Ursula K. LeGuin first published in 1973. In “Omelas,” LeGuin posits a utopian society that operates on the torture of a single child, which metaphysically allows the land to prosper. William James’ argument in “The Moral Philosopher and the Moral Life” that humans possess innate morality because they feel repulsion at such a hypothetical society inspired LeGuin, who disagrees with the assumption. LeGuin writes that while the treatment of the child sickens the citizens of Omelas, most of them accept the bargain and go on with their lives.
The rest of this post contains spoilers for Dororo.