Tag: Heterosexism

Otterly Internalized Oppression

Otterly Internalized Oppression

There is truly a lot to unpack in Sarazanmai, the latest anime television series directed by Kunihiko Ikuhara about a trio of secretive young boys transformed into kappas and tasked with saving Asakusa, Tokyo from giant thieving zombies. The zombies in question are created by a mysterious duo of police officers named Reo and Mabu, working under the even more mysterious Otter Empire.

In the final episode, the Empire’s Chief Otticer of Science and Technology sings “I am an abstract concept.” In the end, the force opposing the Kappa Kingdom does not physically exist. They are merely social constructs borne out of the human (and kappa) characters. However, that’s not to say they’re weak or unstable. They’re strong enough to wage a war against the Kappa Kingdom, advanced enough to transform humans into zombies and harvest their desire energies, and manipulative enough to control Reo and Mabu.

In Sarazanmai, oppression is not so much enacted by living actors as by concepts embedded in society. The abstract nature of the Otter Empire goes to show how internalization of oppression, when systematic oppression negatively impacts the self-image of the oppressed group by believing in their “inferiority,” can damage a connection like that of Reo and Mabu’s as much as external forces and systems. At one point, the otters manifest as a sexually menacing version of Reo he struggles to accept. It is not a true reflection of his attraction to Mabu, but one twisted by internalized homophobia, colorism, and classism. (Although I am white and cannot speak to colorism from personal experience, I felt it would be remiss to not incorporate colorism into my analysis.)

The rest of this post contains spoilers for Sarazanmai, as well as discussion of homophobia, colorism, classism and rape.

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What the Future Holds for Spider-Verse in the Hands of Voltron Showrunners

What the Future Holds for Spider-Verse in the Hands of Voltron Showrunners

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, an 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. Audiences met Spider-Verse with critical acclaim, while the same cannot be said for Voltron season eight. Responses ranged from lukewarm to furious. After season seven left some fans frustrated with the death of a gay man of color character and other developments, season eight disappointed many more with the ending (including the deaths of more characters of color).

Voltron and Spider-Verse have more in common than a release date, however. Without getting into spoilers, the plot of season eight and themes of grief bare a striking resemblance to those of Spider-Verse. Not that one ripped off the other, but that they both aimed to tell stories about loss and family. The delicate consideration and authenticity of marginalized characters simply made audiences more receptive to Spider-Verse. 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.

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Solo: A Shortcoming of Gender and Sexuality

Solo: A Shortcoming of Gender and Sexuality

Shortly before the release of Solo: A Star War Story, the latest Star Wars midquel film that dives into the backstory of the original trilogy’s Han Solo, screenwriter Jonathan Kasdan supported describing the iconic Lando Calrissian as pansexual. While he may have had noble intentions, the robot-focused exploration of Lando’s sexuality does more harm than good in introducing people to pansexuality. L3-37, his co-pilot and love interest, unfortunately falls into misogynistic tropes for the first leading droid played by a woman in a Star Wars film. Together, they leave Solo with a lot to be desired in terms of gender and sexuality in science fiction.

Of course, this post contains spoilers for Solo: A Star Wars Story.

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Beyond Yuri on Ice: LGBTQ Anime and Manga

Beyond Yuri on Ice: LGBTQ Anime and Manga

Thank you to everyone who attended our panel Beyond Yuri!!! on Ice: LGBTQ Anime and Manga at Sakura-con 2017 (or wanted to and didn’t get in)! We didn’t expect so many people and were incredibly grateful for the support. We held this panel again at Kumoricon 2017 in two parts. Thank you to everyone who attended at either convention! Now that it’s been a year since Yuri!!! on Ice aired, this panel has been retired but the transcript will remain. Keep in mind this post lacks the slideshow, delivery, and discussion time of the full panel.

The title isn’t a knock on Yuri!!! on Ice at all. (We hosted this panel cosplaying Yuri and Victor, after all.) Rather, we want to use its popularity as a springboard to bring attention to other anime and manga that feature LGBTQ themes and issues.

We’ll be covering a variety of manga and anime that portray LGBTQ themes in positive, negative, and mixed ways. This includes some gross stereotypes and tired tropes, given that they can affect what may be seen as LGBTQ representation. (In other words, keep in mind that we’ll be talking about homophobic, transphobic, and gender essentialist content.) Anime or manga that use the words lesbian, gay, bi, trans, and queer are rare; but we’re working with those that come as close to it as possible. By the way, we generally won’t be including adaptations of video games, visual novels, and light novels because it would simply get too long. Those mediums have unique histories and conventions that require analysis outside the scope of this panel.

We will also be including LGBTQ history and topics in Japan to give context and see how they connect to anime and manga. The only spoilers we’ll discuss will be relevant to the LGBTQ content. If you were recommended an anime on the basis it has a gay character but it turned out they were actually straight or they die you’d want to know beforehand, right? We’re sorry if we don’t mention your favorite anime or manga, but it’s impossible for us to know and cover everything. We’ve aimed to include a variety of works with major LGBTQ characters and themes, but more importantly manga by LGBTQ creators. We’re also prioritizing those that are legally available in the United States, unless they’re historically important or otherwise significant.

As a disclaimer, when it comes to our criticism, we don’t mean it as a personal condemnation or attack on anyone who enjoys any work we discuss. Both of us love most of the media that we cover here, even when they’re deeply flawed. Obviously, fans aren’t synonymous with all the problematic ideas a story can contain and perpetuate. We believe critical analysis of media is important and even when we love something or think that it’s important, that doesn’t mean it’s excused from critique. If everyone can agree on one thing, it’s that media can have great impact, positive and negative, which is worth discussion.

Also, it should go without saying this panel comes from a Western perspective to a Western audience. We’ve aimed to incorporate Japanese perspectives and insights and find our common ground as LGBTQ folk and build a bridge between cultures. When it comes to most of the Japanese creators we talk about, we only know so much about their identities and private lives. Between this and the culture and language barriers, we try not to assume too much about the creators themselves. Rather, we can only judge them by the content of their works and how they may or may not resonate.

With that in mind, here we go!

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