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 and Sakura-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.
Without further delay, here is our recap of LGBTQ-themed anime and manga from the spring season of 2019!
Continue reading “Rainbow Releases: Spring 2019”
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.
Continue reading “Otterly Internalized Oppression”