#Do people not realize other genres than shonen exist

[imsaunteringvaguelydownwards]

Everytime I see that one clip of ice adolescence of Yurio skating, yk the one with the gloves and the eyeliner, the one that got me to actually watch yuri on ice and get heartbroken when I realized it was from the cancelled movie and not the actual show, I get violently upset

[kacievvbbbb]

Who are your top 5 favorite ships ever (can be canon or non canon) from any media? Why love them?

I found your blog because of your One Piece posts (love them). Can I ask, is OP in your top 7 favorite media ever (until now)? What made those 7 media (can be anime/manga, books, movies, tv series, etc) special to you? Thanks if you want to answer.....🌻

Hello!

My top five ships currently, in no particular order, are;

Mishanks

Eruri

Erasermic

Akiangel

kuroken

I don't really have canon ship cause I don't really like to see full on romance in the media I consume 🫣. I actually only actively engage with the romance genre in fanfics or fandom. I like to watch people I ship interact and for them to have deep ties to each other but I have no interest in actually seeing them become canon. I mainly like ships because I think they have a really fun or interesting dynamic.

as for my favorite media across board thats a little tricky caus eI have a hard time conflating things like that and so I'm just gonna give my top 2 in the categories you listed.

Books:

Purple Hibiscus by Chimamanda Ngozi Adichie - It's just a great look into what it means to be middle-class Nigerian in a time of great country-wide and personal upheaval and it's such an interesting look at christianity in Nigeria and out a lot of things I didn't even realize I was feeling into words. It also has one of my favorite mentor characters of all time so yeah. I seriously recommend to anybody. It deals with a lot of heavy stuff so keep that in mind tho.

Things Fall Apart by Chinua Achebe - This was the book that got me into reading and so therefore will always hold a special place in my heart, because reading; books and fanfiction is such a huge part of my life it's hard to imagine who I'd be without it. I recommend to anyone whos interested in learning about one of the main cultures in Nigeria, Igbo its fascinating and tragic.

Anime/Manga:

Mob Psycho 100 - My feeling on Mob Psycho are best explained in this post. But long story short I love it so much.

Full Metal Alchemist Brotherhood - God what's not to love? This has some of the best written female characters I have seen in any piece of media period not to talk of shonen anime. It's just so good and I'd seriously recommend.

TV Show:

Reservation dogs - I love this show so much and would stake my life on it. As someone aspiring to be a filmmaker this is the kind of stuff I pray to make. It's soooo good and it's technically a comedy but it's not held back by genre. The cast is great the show is great I recommend watching

Breaking bad - Every single good thing you've ever heard about breaking bad is true. I truly understand why this show is regarded as one of the best of all time.

Movie:

Into the Spiderverse - It makes me want to believe in something bigger than myself. You do truly leave feeling like you could be spiderman and no superhero movie has ever made me feel that way. Also, I love animation and this is about as animation as it gets.

Everything Everywhere All At Once - Hands down the best multiverse movie to ever exist and I don't care. Amazing

Bonus: Your Name - My favorite anime film. The twist literally blew my mind. Its so warm and cozy and fun, and then shit really goes down.

As for music I generally will listen to anything as long as I like it but I gravitate to Folk music and my favorite artist is Hozier.

As for One Piece it's actually not one of my favorite animes. It's definitely my favorite of the big three and classic shonen but yeah. It has and will always have a really special place in my heart cause it was my introduction to anything anime or manga. But yeah I don't keep up with it in what anyone could call a normal way. I just have a little to many problems with how the female characters are treated to really consistently keep up with it. It's kinda better now with Bonny but yeah. I appreciate the story and as anyone on my blog can tell I love the characters. but yeah, ironically, not one of my favorites. Will forever be in my heart though.

[stackslip]

FMA is the pinnacle of anime for people who dislike Shonen Jump action-adventure house style and don't realize that's a specific (if hyper popular) slice of anime that they can just not watch.

SCREAMS RIGHT, ok yeah sure it's good for a mid 2000s popular shounen battle anime. genuinely believe the og 2003 anime did far more interesting things with its premise even though it eventually collapsed and had its own issues. its ending is atrocious and unsatisfying, bar ed losing his alchemy. its female characters are seen as good bc they can pass the sexy lamp test but not by much. their designs are better than most other shounen at the time but again that's like gushing about mcu's black widow movie being a feminist achievement. people push back on the whole criticism re genocide, saying we missed the point, etc but their arguments are terrible and shallow and are missing the actual criticism, which is that the perpetuators of genocide are given FAR more screentime and sympathy than its actual victims! which is that the military is shown from the start to be evil and yet it ends with fucking mustang becoming the FUHRER. no abolition no it just continues and it's all fine. don't get me started on more i'm always frustrated lmao

anyhow. it's fine to enjoy fma and love it. i wish i didn't have to hear about how it's the greatest anime ever made and it's so much better than all other anime, which as we know are all stale shounen battle anime with sexy girls with no personalities. like there are no other genres or even works that are a bit less popular. but yeah genuinely believe that you can and should expand your horizons and read/watch more and like, find animanga that has actually GOOD and complex female characters beyond "they're badasses". i promise these exist out there, they're really good. i can even rec some if you'd like me to do so!

[wemlygust]

It's also reinforced by countless published authors and scriptwriters all saying that people should, "make your villain relatable! Don't make them just evil for evil's sake. The reader should be able to understand why they're doing what they're doing. A tragic villain doing the wrong thing for the right reasons is more compelling and more interesting than a flat villain being evil because evil." People take that advice. And they overdo it and make the villain's reasons make too much sense, oh no, we have to make it evil somehow... Okay also they kill babies! See! Evil! Which, funnily enough, undermines the original goal of making the villain relatable/realistic/interesting/not-evil-for-evil's-sake, because it's literally making the villain evil for evil's sake, except also they have good ideas sometimes. So the remaining, accidental, moral, is just that villains can be right about some stuff. And that the heroes are heroic even if, having delivered passionate speeches about how the villain's methods are unacceptable and how they're doing all the wrong things even if it's for the right reason... they continue to do nothing whatsoever about the underlying problems that inspired the existence of the supervillain in the first place (accidental realism there). My Hero Academia is especially frustrating in this regard. I love that show, don't get me wrong. But it comes SO CLOSE to actually addressing the villains' arguments - which largely about their society's and government's deep inequality problems - seriously, and then just... doesn't. Like. The villains in MHA are all social outcasts for reasons beyond their control. One was raised by a villain. Another is a trans woman (who is fridged pretty early on, but also her teammates use the right pronouns and correct people who misgender her much later on in the show, which is still a surprising/unusual inclusion for a anime/manga, especially for shonen). Another just looks like a lizard and has been discriminated against for that. Multiple were born with powers that, without proper support, can accidentally cause harm, or which other people are alarmed by. They are absolutely intentionally a band of rejects from mainstream society who have been in many ways pushed into becoming villains. They get an entire villain season/arc that *focuses on their perspective and follows them instead of the heroes*. And even after aaaaaall that.... the show STILL never actually has the heroes confront the problems that the villains are very clearly very correct about. It's so frustrating because there are so many points where it feels like it gets so close to that. To maybe having superheroes realize that their society - which they themselves absolutely benefit from in the form of fame and money - has deep flaws that need to be fixed so that the society stops creating villains in the first place. To maybe going in interesting directions with that. But it DOESN'T. It's SO FRUSTRATING ARGH.

... Still a great show though. Anyway I really think a lot of neigh-universal writing advice tidbits like that "make villains' motivations make sense and be relatable, doing anything else is flat and boring" just tends to create 1) a new wave of same-y fiction that all does the same thing and becomes boring after a while, and 2) unintended consequences of various kinds, like this one. (granted this issue with the portrayal of supervillains as "makes a lot of good points but also kills kittens for fun so we can just ignore everything they say I'm sure it's fine" is also deeply rooted in the history of the superhero genre, American media's portrayals of cops (including the in-media-acceptability of cops spying, breaking and entering without a warrant, torturing people and having that be effective), and so on. /rant

[animebw]

Look, it’s unfair to compare every sports anime- even sports shonen- to Haikyuu. Every show, even ones in the same genre, is trying to do its own thing, and you shouldn’t judge them for not living up to what I consider the pinnacle of the genre. Kuroko no Basket isn’t Haikyuu, isn’t trying to be Haikyuu, and shouldn’t be judged for not being Haikyuu.

But fourteen episodes into KnB, I realized I was bored out of my mind, so I paused watching it and popped on a random Haikyuu episode (S1E5) just to feel the difference.

And that made this decision a lot easier.

I’m sorry, but I just can’t do it. I can’t sit around waiting for the basketball lasers to show up if it’s going to be this much of a slog to get there. That random episode of Haikyuu I put on- an episode from very early in its run, I might add- had more charm, personality, and cinematic verve than the entirety of Kuroko no Basket up until this point. No, I can’t judge it for not being the same as Haikyuu, but I can absolutely judge it for being infinitely worse than Haikyuu in every aspect.

So what’s going wrong here? Well, there’s one big problem that pretty much kills Kuroko no Basket for me. It’s not how the show focuses on a select few elite players instead of making the whole team matter, though that doesn’t help. It’s not how cringeworthy the way the female characters are treated is, though that doesn’t help. It’s not how aesthetically ugly it is, though that doesn’t help (seriously, though, while the animation during the matches is pretty slick, the actual art style and overall direction is just so unpleasant to look at). No, the real problem, the problem that kills this show, is that none of these characters feel like they exist beyond the boundary of the basketball court.

Think about it. Who is Kuroko when he’s not playing basketball? Or Kagami? Or Kise? What are their other hobbies and interests? Plans for the future? Fears? Desires? What are their families and home situations like? Their school lives? The answer is: nothing. None of these things exists. Every single character in this show exists to play basketball, talk about playing basketball, and think about playing basketball. That’s it. They aren’t written as people inhabiting a world, they’re written as ciphers who only exist in the context of basketball. Take that one aspect of their personalities away and literally nothing’s left.

Compare that to, say, Enoshita from Haikyuu. Do we ever see his home life? Do we ever see his hobbies or what his life is like outside the volleyball club? No, not really. But in the short time we spend with him, it’s clear he does, in fact, have a life outside the volleyball club. He has a personality and personal goals that aren’t solely defined by Hit Ball Gooder. Even if we don’t see much of it, he’s written in such a way that you can imagine the life he leads beyond the screen. And that’s just Enoshita! He’s one of the most minor characters in the show, and yet he has a more believable and fleshed-out internal life than everyone in KnB.

I can’t care about Kuroko and his friends because I can’t see them as people; they’re vessels to play basketball and that’s it. But everyone in Haikyuu, from Karasuno to Aoba Josei to Nekomata and beyond, feels like a person with a story worth getting invested in. I care about them because I care about them as people, because what they do on the court matters to them as people. If there was ever anything recognizably human about Kuroko no Basket, it was lost in the shuffle long ago. And I’m not gonna make myself sit through 75 episodes of sports robots larping as humans just to see what ridiculous, over-the-top stunts they might pull sometime in the future.

[lurking96]

Dude, why am I seeing so many bkdk's complain about Uraraka's speech? A lot of them are complaining about how much time she's getting compared to feral gremlin's "apology" "only getting a few panels". Weren't they yelling "BKDK SOULMATESSS!!!" from those "few panels" just a couple weeks ago and they would NOT shut up about it? But God forbid that Uraraka finally gets the moment to shine we've been teased with for ages. BTW, it wasn't a mere "Izuocha" moment, she was humanizing ALL heroes.

Well I do not need to elaborate my opinion on the "apology". It was watered down and weak. Uraraka is being a hero to the heroes. One of her goals. It is important for society to realize that Heroes are just humans and not immortal gods that can do no wrong so society can act accordingly towards them. She is doing something important for societal change. It was an Izuocha moment in that she actually had her words reach Izukus mind. His eyes were fixed on her and he didn't even turn when Bakugou talked. But it was much more than just a ship moment. Honestly it feels weird. There is a panel where Izuku and Bakugou are seen together and it´s seen as shipping fodder. Even if it is one where Bakugou is insulting or physical aggressive. They probably complain because it shows just that their ship will not be canon. That it isn't secure 100%. That they are afraid that other ships actually have a chance. The existence of another possible love interest is a threat to their ship. Here is the thing. This is not specific against the ship. The protagonist of a Shonen series either stays single or ends up in a straight relationship. Same sex relationships are normally if they exist rather in the background and done by side characters. It is the simple meta of shonen. For some MHA/BNHA is their first Shonen. But to people that read and watched more it´s a thing that tends to happen. Even if an author wants a main same sex ship there are still editors, publishers and convention they need to go through. I would like for Same Sex relationships to be more normalised in media but I do not see it happen that strongly in a battle shonen like this. For people that want some there are other genres (not yaoi) that can deliver rather well for that.

[gffa]

I know I've brought this up before, but how much of the fandom reception of the prequels do you think stemmed from the genre dissonance? That the prequels, genre-wise, are closer to high fantasy, while the OT is more an adventure/space western/underdog triumph story.

The prequels also have elements more reminiscent of a romantic period/court drama/Shakespearean tragedy, while if you consider the underdog angle of the OT, the OT also seems kinda similar to some of those inspirational movies about sports teams or something, or a shonen anime with the "Power of Friendship".

I'm just saying, these are rather disparate genres that tend to attract different demographics of people.

And not many people tend to be... great about understanding why they don't like something, much less putting it into words, or understanding that they can dislike something without that something being actually bad. (For example, instead of "I just don't really like [thing]," the usual statement is something along the lines of "[thing] absolutely sucks.")

So the usual response is trying to find (and gather) solidarity while putting down or being condescending towards any dissent, and trying to justify their own dislike. (*gestures vaguely towards pineapple on pizza*)

And historically, it's not uncommon for people to... react strongly towards things they find... different or abnormal, which they judge based on themselves, their emotional response to something, and what they're used to.

Looking at kids, this behavior is... fairly normal. "You're weird," "ew, why do you like that, that's gross," "that's stupid," and so on. A lot of kids/teens/young adults also get defensive really easily. And let's face it--adults are basically just older, taller kids who've had to deal with more of life.

(To be honest, I also get defensive really easily. A lot of people do, and it's... it's normal. The defensive reaction can be lashing out, denial, or just being passive-aggressive or staying silent and tuning it out or mentally rolling your eyes at it. But I'm trying to work on it, because just because it's normal doesn't mean it's a good reaction.)

So, what I'm wondering is whether some fans dislike the prequels simply because it's a different genre...

...but instead of realizing that, they try to defend and justify their dislike by pointing fingers and criticizing whatever stood out or looked different from the OT or cherry-picking details/taking things out of context or making negative conflations (that can be refuted).

Because it's not about logic, it's about how they feel. And people want to feel justified and validated, and we want to feel like we're right and we enjoy staying in our comfort zones. So... yeah. ¯\_(ツ)_/¯

LOL, okay, this response is going to be really disjointed because I went off in like a dozen different tangents and even then it's not enough to cover everything, so just kind of read this in a Scattered Thoughts Nerd kind of tone, where I'm staring off into the distance because Navel Gazing Gets Me Going Sometimes. 😂 In my experience, it's sort of a mix. I don't hang around a lot of people who dislike the prequels (in the sense of dismissing them/not being fannish about them) because, well, that's the heart of my interest in Star Wars, so our areas of interest basically don't really overlap that much, so I don't have a chance to talk to a lot of people and find out their reasons or even how they dislike the prequels, in the bigger trends of fandom. I do think there's an element of what you're talking about, that sometimes people can't just dislike things because it's not their genre of choice, that's absolutely a part of it. Mostly because that's how a lot of people react to anything they don't like (and it's something I and literally everyone else has to work on), there has to be a reason for it that it's objectively bad and, like, I have experienced a lot of people getting mad because I like something in a different way than they do. And I don't mean just in Star Wars fandom, but in almost any given fandom--if someone likes something in a way someone else doesn't, if they talk loudly about it (even within their own space), then there's always a contingent of people who have to find a reason why that person is objectively wrong (or even try to make them morally wrong), rather than just shrugging and going, "We see things differently, my view on things doesn't overwrite theirs and their view on things doesn't overwrite mine." It gets more complicated in instances where fandom attitudes genuinely can be hurtful, especially when they're overlapping into the way real people are treated, likes/dislikes don't 100% exist in a bubble, especially when it comes to queer fans, fans of color, disabled fans, mentally ill fans, etc. But that there are a lot of instances where fandom culture has always been--and is increasingly so--contentious and it's hard to chill out when someone is always screaming at you, when the atmosphere of the fandom is always so intense. Further, there's also an element of how fandom has always been--and also is increasingly so--about personal resonance, personal emotional investment, interpretation, and meaning. That sometimes we identify with something so deeply that we feel attacked when someone else likes or dislikes something we feel so strongly about, something that we feel is a reflection of ourselves, and I see a lot of that as well. And this, too, often crosses over into lines of how the context of how we treat characters can be reflections of how we treat real world people, but that there's no monolith here as well. For example: I make fun of Anakin, this angers some people, because how dare I not take this fictional victim 100% seriously, despite that I have repeatedly said that Anakin is the character I most identify with, that things I make fun of him for are ones that I resonate with personally. I'm not disrespecting mentally ill people, especially considering that Anakin is not bound to a single interpretation on this front--he is not canonically mentally ill, no matter how easy it is for us in fandom to map much of that onto his character or, in my case, feel that so much of what I see in him are things I struggle with myself. By and large, the majority of the people I see (at least on tumblr) who make fun of Anakin are doing so within the same vein, that they're being silly about him on things that they personally relate to. (My experiences on this are not universal, I cannot speak for the whole of even any one part of fandom, only my own sphere of experience, but this is what I've seen.) As always, it's fine if someone doesn't vibe with my style or they find that it's not their thing because they do take him more seriously, but that preference does not make my jokes

suddenly not have the context that I relate a lot to what I see in Anakin. In contrast, the way some of the fandom treats Mace or Finn isn't just personal all the time. Not liking their characters isn't inherently racist, but the way they're consistently, consistently treated sure as hell speaks to a larger pattern of racism in fandom and doesn't come without that context. It's the same with Rey--is there a huge vein of misogyny when it comes to her character? Abso-fucking-lutely there is. Things Luke and Anakin get a pass on, Rey is raked over the coals for. Is everyone who dislikes Rey a misogynist? Not even close. Some don't like her because Finn was used as a prop for her story. Some people don't like her because she got sucked into Kylo Ren's story too much. Some just don't care for the way she was written for other reasons. Some just don't vibe with her. It's fine. Nothing is a monolith. And to circle this back around to what you're talking about--it's hard to judge, both because no part of fandom is a monolith in their reactions, but also because we're only hearing from a selection of the fans. How do you know how many people who aren't fans of the prequels, who just don't care for them because it's not their genre, but just go about their day? You don't hear from a lot of them because they moved on to things they do like, so it seems like they must not exist--except, they do, and they're just out there doing things they like more. We only hear from the people who feel the need to tell others they dislike the prequels for this reason or that reason, some valid, some less valid, etc. Ultimately, I do think there's probably a fair amount of genre dissonance for why people dislike the prequels and channel that into "they're objectively bad" and get defensive when people like them and say they were great, but only because that's true of anything anywhere. But that it's only one small slice of the bigger picture (and there's a lot of stuff that I had to eschew in the writing of this response as well because it can be a pretty sprawling topic), where there are tons of reasons and reactions that people have, as well as they're perfectly free to dislike the prequels for whatever reason they do or don't have, it doesn't really affect my opinions, unless they're trying to shove it in my face or are being a dick to those who disagree with them.

[generallypo]

in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh. 

------

anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding! 

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes.. 

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way. 

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ. 

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically. 

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that. 

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you. 

yeah fucking right.

------

and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him. 

[[You are this universe’s most powerless existence, aren’t you.]] 

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself. 

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

------

and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise. 

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines. 

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios  and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out.  i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah. 

------

(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

------

and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

[soyouareandrewdobson]

…the ugly. SYAC: The Master Review 4

Last post I covered much of what I consider the good or passable strips of SYAC of the pre-Dobbear era. What I have admittedly not covered yet, were three certain characters of the strip that exist beside Dobson.

Persistent Pam

 Curmudgeonly Carl

And… this guy I am not even sure has a name.

No, seriously. He shows up in like the 61th strip of the series for the first time and yet I never see his name mentioned once

All I know is that he is an accountant, who pities Dobson (for good reason)

And despite Dobson not liking alcohol, they regularly meet up in a bar as if they are some late 80s comedy duo

Funnily enough, he shows up way before Pam, who would have her premiere in these strips

 And despite only showing up in a few strips after her premiere (mostly to make “fun” of overbearing and snarky commissioners I suppose…)

 She actually managed something no other character or series by Dobson managed to get: A fanclub

 Not that she would really be of any major importance afterwards.

As for Carl, he is supposed to be something like an antagonistic embodiment of Dobson’s “old” art teachers and people being stuck in old ways, who shows up for the following strips forming a sort of arc.

In addition, it is very obvious, that Carl is supposed to be a mockery of people flaming Dobson. Not helped by the fact that THIS character sheet of him made by Dobson assures us, that there were quite a few even less “endorsing” things he wanted to name the character.

Yet funnily enough, Carl turned into such a popular character with readers, Dobson was essentially “forced” to make him reappear in other strips. Not of the “classical” SYAC strips, but he showed up as the “antagonist” to Tenku in the storydriven multi pagers. Though even antagonist is a strong word, as he is essentially more of a jerkish art teacher and college advisor who is harsh on Tenku, but actually has his best interests in mind. To the point he even offers him to be his “harsher” art critic in the years till he enters college, because he wants to see him grow artistically.

 However, Carl was also more of an “accident”. Cause when it came otherwise to tackling criticism or things that irked Dobson (and were not anime related) he would end up more or less creating strips that painted him in a manner where he would supposedly always look like “the better” compared to his opposition or mock it. Which is where a lot of the irk Dobson would earn over the years eventually comes from.

Now to be fair, I do not want to call every comic in that regard “strawmanning”, nor do I want to say that Dobson doesn’t have the right to also mock to a certain extend the mentality of certain “snobs” and so on. For example…

On one hand, I know there are people out there who think they are “special” by having the best tools at their disposal. When in reality you can achieve good results also with less expensive stuff. So mocking that sort of attitude is fine to me to some extend

BUT, when you also make down the line a comic like this…

… essentially making yourself come off as a “better” artist or person than others because you have “chosen” the better mass produced crap (btw, that is coming from someone who types this review on a Mac that runs Windows) , then the hypocrisy ends up to be rather strong with you.

 Which is also essentially the biggest issue with the strips I am about to show. The hypocrisy of Andrew Dobson. And no, I do not mean the tumblr blog by that. I mean the simple fact, that the content of some of the soon to follow strips gets kinda muddled when you take into consideration some of the things real life Dobson had said and done either at the time or in the years to come. Well that and the way how he tries to mock issues people have with his work, not realizing how he is essentially just reassuring those “silly critics” in their opinions while making his flaws more obvious to people that may have been previously unaware of them.

But enough talk, let me just show you in quick succession examples to confirm said point.

Considering Dobson’s longterm disdain for DnD you have to wonder what the joke really is outside of him portraying DnD players as ugly nerds, supposedly too geeky even for him. Which is hilarious in hindsight as he would years later become a fan of TAZ among other things.

Less hypocritical but the set up is kinda flawed. Like, you are obviously at a convention trying to sell stuff. Why would some old dude not interested in “kids crap” be at the convention anyway? Is he just bringing someone there and just wants to go, but first needs time to belittle your life choices?

 Rather hilarious in hindsight to me. Cause for someone claiming he has ideas that last for a life time and who seems rather distraught on the idea of others giving their input, he turned out to be so in need of ideas. Alex ze Pirate e.g. became from 2015 onward only defined by Dobson talking about the sexualities of his characters (and not even in comic as by that point it was discontinued, but rather in tweets and so on). Formera, which ran heavily on cheap shonen anime tropes ended up cancelled after two volumes, Cabin Rest was a failure after 20 strips, 2019 he relied primarily on cheap comics about Miraculous Ladybug and his understanding of certain genres is so bad, he can’t even think up the most basic ideas for a magical girl story.

Weirdly enough, that pitch of a garbage truck driver who fights crime? I think that could make for an enjoyable short story about a vigilante a la the Punisher or Sin-City.

 The way Dobson perceives criticism, while also essentially giving a quick rundown how he appreciated criticism in his childhood way better than in adulthood. Yeah, because criticism by your parents as a kid was always VERY constructive. (looks back at certain drawings from own childhood) brrr. And sorry Dobson, but sometimes criticism by strangers is better than criticism from friends. Cause friends may mince their words. Plus people have over time given you quite some insightful criticism aside “U SUX” when it comes to comics. You were just never willing to listen

Hey Dobson, you hear that? That is the sound of your career, dying and no one caring.

Yeah, I think someone who made such “brilliant” comedy as in these comics, totally has the right not to listen to what seems to be solid theoretical advice.

BTW, that Talus comic… I swear to god the worst “joke” Dobson ever told.

 Wow. You essentially make a point why you suck at drawing. While still not trying to change.

And as someone else once said: Don’t play with fire if you can’t deal with the heat, BLOCK-son!

This is not how I perceived your shit over the years. See, on one hand it is true that Alex ze Pirate e.g. has its own webpage to read the comic for free. HOWEVER most of his comics Dobson would hide from the start behind a paywall. The idea being that he would e.g. put a small reading sample of 10-15 pages up somewhere and then expect people to buy his comic for full price to get the rest. And you know, if you are e.g. a professionally published writer, that is fine. But when your average art output looks like THIS

And you expect people to pay more than 10 dollars for something that is only around 70 pages long while most people can get 200+ pages for the same amount of money that look like this…

 You can frankly go and screw yourself.

On one hand I get that the joke is meant to be, that as an independent content creator you may find yourself in a weird spot where your “child friendly” work may be put in a palace between edgier stuff other creators sell at conventions. On the other hand, I find it rather insulting in hindsight, that self declared feminist Andrew Dobson portrays such competition as either psychopathic murderers or stereotypical cartoon bimbos. If modern day Dobson saw the same strip by any other person, he would be insulted on behalf of the female that she is portrayed as a bimbo, when she could also be a very smart and attractive woman who knows how to tell brave and sexy stories.

Also, I have read your “child friendly” stuff, Dobson. I would call Atea or Alex abusive bitches who like to bully orphans but child friendly? Not to forget that your work is so basic and shallow in depth, it’s like the someone tried to create a chimera out of some of the worst traits associated with Dora the Explorer, 80s toodler cartoons and the Fairly Oddparents.

I frankly hate this theory on comedy. It is true, a lot of comedy can be deprived from conflict, misunderstandings etc. Looney Tunes, Tom and Jerry and other cartoons as well as screwball comedies such as Rat Race can depend on it. Heck, one of my favorite comedians of all time is Christopher Titus, who based his entire career on the misery and absurdity of his life.

But comedy is not just defined by misery and conflict.

There are for example also the following theories when it comes to comedy…

And to get back e.g. to Titus, yes, he has build a lot of his comedy on the bad stuff that happened in his life. But he is also someone who in his comedy has build a lot of punchlines on the absurdity of certain situations he has been in life but which in a way have enriched his life positively.

 What I am trying to say is, comedy (and entertainment in that regard) does not just have to be defined by misery. And all things considered Dobson, you could have really tried to also just make comics wherein either you or your characters are just happy with their situation in life.

For example, this page from an Owl House fancomic?

I think it holds more entertainment value than your “joke” right here, despite not even telling a joke.

Simply because as a page overall, it tries to convey a positive emotion. Which is more than I can say about the strip.

Because of a lack of different level of thickness regarding your lines, which would trick people into perceiving depth, the fact that the fill bucket and shade layers can only do so much to cover for the rather monochromatic dull nature of your comic, the fact that your characters are not really all that complex and look rather simplicstic even compared to stuff from a comic like this…

And that is just coming from the top of my head as someone who never studied art. If any reader has something to add, I am willing to listen

And considering you could in later years never keep up to any release schedule, which among other things resulted in only three SYAC strips in total being released in 2016, I say go fuck yourself. Not to forget that even some of the worst newspaper comic strips out there tend to actually find a decent following and good jokes eventually, otherwise they would not manage to stay popular for years, if not even decades.

As someone who has worked internships a lot in life, I just want to say fuck you in all our names. Glad to see you having just as much respect for interns than any other scumbag on the planet. Probably even less respect, cause you know, in some places interns tend to get paid.

Also, there is supposedly an entire real world story going on about Dobson having worked at his former university at the time the comic came out and Chaz is based on a fellow intern.

Things are unfortunately rather vague in that regard and only hold up by demonstrative evidence such as the name of Chaz showing up in certain pages of the university and Dobson’s internship being mentioned somewhere.

Well, would you look at that: People have different opinions on your stuff.

There are ways to draw memes funny and then there are ways to fail at them

 You failed.

Funnily enough, that comic rings a lot truer to text than you expect. Considering how Dobson would often emulate certain aesthetics in his comics of shows that were rather passee by the time he published his stuff, plus how he will obsess over certain trends and games for years to come (like Skyrim or his Quiet Hate Boner) while also being unaware about current trends (how do you e.g. not have heard of My Hero Academia by 2018 at least once by accident?) Dobson has always been kinda late to the party. Missing the “zeitgeist” of nerd culture and as such never quite finding an audience.

Yeah, what Pam says. Not helped by the fact that yes, the floating eyebrows are real. Look at some earlier sketches or “professionally published” comics by his and you will see that each time characters get excited, their eyebrows will suddenly split into sets of three and float higher than Pennywise’s victims.

Ironically, that fits real life Dobson at the time and later on even more so than this comic version did. Sorry, but what am I supposed to call a person who has an hate boner on anime for years for superfluous reasons, made Danny and Spot a “gaming webcomic” deliberately to piss on non Nintendo fans and has admitted in some by now deleted youtube video, that he kept a list of usernames from an old forum just to remember even years later the people that were mean to him online?

 Fuck both of you. I do not expect the Sixtin Chapel in the background, but something to filll up the empty space behind you is at times needed.

The comic here is actually called politics. … ironic how things changed once a certain reality show host turned president.

Jesus Christ. I am not even that much of a Transformers fan (Prime fan for life however) but even I know that this is not supposed to be what you design the head of a Transformer like. Not even if they ever produce the Transformers equivalent of Teen Titans Go.

Too bad you still can’t stand the heat, otherwise you wouldn’t have completely disappeared last year.

When you know you are in a no win situation, and still manage to choose an even dumber option to escape. I really don’t get it. I just think the Portal reference makes the comic dated and Dobsn’s attempt at a smug face looks so stupid. Like his cheeks are falling in and his mouth is about ready to get raped by a garden hose or something.

Yeah, considering Dobson’s later constant need for safe spaces and to be in control of a situation and the narrative, which led to so many blocks over the years… if you know anything about Dobson, how this comic becomes harsher in hindsight is rather self explanatory. I just want to say one thing: There is a difference between genuine agoraphobia and just wanting to be by yourself. And I think Dobson just prefers the later on average. Which is okay, but humans still need to interact with other human beings in one form or another, even just for the sake of keeping their mental health stable. Why do you think are so many people getting depressed in times of covid lockdowns, despite many having all sorts of technical gimmicks at their disposal to at least keep boredom at bay?

And by putting himself into a bubble like that, I think Dobson has deprived himself of some of the most basic human interaction, which was likely a severe factor in his mental degeneration over the last years.

It is still a valid suggestion! Just draw some cartoon characters or a nice fantasy scenario on a mural and earn yourself some bucks. Just be sure they are not by Disney or the Mouse will tear down the school!

… Just google up the words Andrew Dobson and Samus Aran commission by ED and you will see how this comic just further shows how much Dobson seems to actually be proud of being an unproductive asshole.

 And by the way, I know that any form of artistic work takes time. Just writing these review posts takes a lot of time for me. But that doesn’t change the fact that people should post and create stuff in a timely fashion, especially when there are e.g. deadlines to hold up too. And by the way, Sloth’s don’t have fingers, they have claws!

And that is it.

Sorry if I missed anything folks, but I just saw how many pages in word this is already filling up, so I call quits for this part here right now. I think I made my point about how Dobson trying to badly deflect arguments people may make against his art and work ethics via jokes clear enough, while also showing some posts that are either harsher or hilarious in hindsight.

Next time we will however address one certain issue about our main character, that has been not directly addressed here. In the meantime, have a little fun video that shows hopefully how entertainment and a certain amount of comedy can be gained NOT via misery.

[mysticdragon3md3]

Ranma ½ is GENIUS. Here’s Why by  Bonsai Pop

The thing I really appreciated about Ranma ½ when I was younger, was that it was a discussion about gender without getting sidetracked by sex, the way most “sex comedies” did, especially at the time.  At the time, publishers tried to market Ranma ½ as a “sex comedy” in the vein of raunchy college-setting Hollywood movies or fanservicy Male Gaze series (compare “Futaba-kun Change” or the proceeding “harem genre” that Ranma ½ started).  But Ranma ½ felt more like a discussion about gender more than sex, or even more than sexuality.  And being an AroAce kid, who didn’t know what AroAce was at the time, but was very confused about my gender, I really appreciated Ranma ½’s focus on gender over sex, fanservice, and heterosexuals navigating (sexual) relationships—which, I *cannot* express enough, was the saturated majority of all anime/manga, that even came close to discussing gender, at the time.  I just wanted a discussion about gender, gender roles, complaining about presumed traditional ideas about gender, and how to define one’s own gender despite society’s pressures about gender.  I wanted a discussion about Strength, that the martial arts genre did so often, without an advocation for sexist ideals, toxic masculinity, stereotypes about “feminine” being weaker (even as warriors), fixated only on romance, or any number of female stereotypes, etc.  I feel like I can’t remind people enough of how it was back then, when not only were these toxic mysoginist ideas portrayed frequently, but they were also portrayed as good, true, “right”, or unquestioned.  At least when Ranma Saotome was being a sexist jerk, he was punished for that terrible thinking or eventually had to reconcile with his dissonance.  And Akane Tendo was revolutionary at that time too.  It used to be that on the Shonen genre side, we had only hyper fem, passive, romance-fixated, love interests, OR nagging, cold female characters that really felt like the author was conveying all their horrible views on women in general, OR sexy eye-candy that had close-ups on their boobs or butt so frequently, that it completely made their lack of focus on romance or anything else in their personalities, secondary.  Then on the Shoujo genre side, we had girls who were fixated on nothing but romance, constantly jealous and possessive—and often over guys who hadn’t even proven themselves worthwhile to pursue romantically.  Let’s face it: A lot of Shoujo leading men were often jerks, treated their female love interests badly, and for some reason, she was just supposed to play the devoted “Lady Murasaki” and be totally “in love” with him.  Whyyyyyyyyyy?????????????  Even worse on the Shonen genre side too, because he treats her badly, it doesn’t get portrayed as bad treatment, he doesn’t understand why she’s angry, so she just looks like a volatile nag all the time, often existing only to be objectified or serve as a flimsy motive for his character arcs and actions. It was a pretty bad time.  Not that now has eliminated those problems, but when Ranma ½ and Akane Tendo seem like the shining lights of something different, maybe then you can understand how much I sorely needed Ranma ½ and Akane Tendo at that time.  

Really surprised that this video essay didn’t mention Jackie Chan.  The thing that differentiated Ranma ½ from so many martial arts battle anime/manga at the time, was that Ranma ½’s style of martial arts was inspired by Jackie Chan.  Meanwhile, all the other Shonen martial arts manga/anime were so serious and based more on “cool”, “action” genre toned martial arts movies.  

I’m intrigued by this video essay’s idea that Ranma ½ the series isn’t sexist, but rather, characters within the series are sexist, and are so in order to make a point about how them being like that is messed up.  I need to grapple with this because one of my problems in looking back at Ranma ½ is that it can be a little transphobic and/or homophobic at times.  Like, I’ll never forget when Tsubasa Kurenai was introduced and, Akane, this character that we’re supposed to completely sympathize with during this series, just keeps screaming in Tsubasa’s face that they are a “pervert”, simply because it’s revealed that Tsubasa identifies as a boy but dresses as a girl.  I think the episode just ended like that, and that was supposed to be a joke, but I don’t know whether the reveal’s shock intended on the audience was supposed to be conveyed through Akane and we were expected to have the same reactions as her, or if we were supposed to be shocked at Akane’s reactions and her reactions being ridiculous were the joke.  I dunno; it was a long time ago, I don’t remember much context, and I really should look it back up.  But frankly, there’s a lot of Ranma ½ to sift through and that’s more time than I have, writing this post.  Akane does seem to repeatedly have instances of being perfectly nice to characters, but when she discovers they’re actually guys, she spends a lot of time yelling “pervert” in their faces.  Sometimes I don’t know if we’re meant to see how ridiculous Akane is being or if we’re meant to agree with her.  Again, I watched/read the series a long time ago, and maybe if I re-watched/re-read it now, it would be clear to older me.  Because, when it happens between Akane and Ranma, Ranma has a specific line, grummbling about how Akane was perfectly nice to him, up until she found out he was actually a boy.  And Ranma was a bit nice in his characterization up until that early line of dialogue, so maybe we were supposed to be on his side in that thought.  So maybe Akane spending the rest of the series yelling “pervert” at Ranma (repeated so often it’s essentially their running gag), is supposed to be a joke laughing at how irrational Akane is being.  o.o?  I’d hate to think we’re supposed to be on Akane’s side, repeatedly calling Ranma a “pervert” over a curse that he had no control over getting, and early on was portrayed as a misfortune that the audience was supposed to sympathize and pity him over.  Maybe the whole thing is supposed to point out Akane’s flaws, since everyone in the series is pretty messed up.  (Even Kasumi unsettled me a bit when I was younger, in that she dropped her entire life, to replace her mother’s role when she died.  For me, being a young girl who didn’t buy into those traditional female roles, that were still at the time, strongly pushed onto girls in society, that was a little unsettling.  Still love Kasumi as a person though.)  Akane did have reason to “hate boys”, as the series specifically states early on, but I’d like to think that she was given this flaw as a point to grow away from.  Just as this video essay calls to attention Ranma being sexist and, over the series, eventually growing out of it.  But back when I was young and initially into Ranma ½, I feared that some of these sexist or even homophobic ideas in Ranma ½ were actually reflective of thoughts that Rumiko Takahashi advocated.  After all, there’s a point in Maison  Ikkoku where Kyoko berates herself by saying all women are fools.  Maybe I was too young to see the nuance in a character berating her own mistakes in her love live, vs the implication that all women are “properly” stereotyped into being obsessed with love and end up acting foolish for it.  Nowadays, I can see how we can berate ourselves whenever our specific actions can slot us into generalized stereotypes, and we curse ourselves for falling into proving stereotypes true on occaision.  But back then, when I was younger and watching Ranma ½ for the first time and reading Maison Ikkoku for the first time, I was afraid that such lines were reflective of Takahashi believing such stereotypes as truth.  Which is why I was so happy when sometime after Ranma ½, Inuyasha had a canonically gay character, and instead of Inuyasha calling him a pervert the entire time, he just got exasperated with his non-stop flirting, the way that all the female characters from Ranma ½ are tired of guys who won’t take “no” for an answer.  At the time, I thought, “Yay!  Takahashi has evolved to a less homophobic stance!”  But maybe, all this time, she was always against such things, and merely portraying them, even through characters we were supposed to sympathize with, merely to show how messed up such ideas are.  I really like that thought which this video essay presented.  

But I will disagree with this video essay on 1 thing:  The manga is better.  I’m not trying to be elitist.  I realize that comedy has a very subjective sensibilities, and the anime leans into awkward silence type comedy, whereas I am sick of that type of comedy.  But so many visual gags and jokes in the manga, and Rumiko Takahashi’s style in general, involve panels that are almost completely re-drawn, with only 1 element changed—the gag element—suggesting that the eye is supposed to read from panel to panel quickly (since the human eyes/brain filters out a lack of change, and is hard-wired to focus on changes from previous conditions).  To me, this suggests quick punchlines, whose sudden oddity is supposed to shock, implying an intended fast pacing to the jokes.  And yeah, Takahashi will draw seemingly normal scenes, detailed with all the normalcies of a commonly recognizable environment, then suddenly the next panel is exactly the same except a character is contorted into a silly pose or an absolutely ridiculous creature with an intentionally nonsensical facial expression has suddenly appeared, amid that completely “normal” scene, with all its “normal” details _redrawn_.  It’s why the “evil oni” episode in Ranma ½ had a ridiculous face, despite its supposedly ominous background.  In fact, anywhere Takahashi can fit a gag face, especially if it contradicts the surrounding scene’s/story’s serious tone, she will do it.  She has even said in interviews that if scenes are too serious, she will try to put in a gag in the corner.  I remember reading Maison Ikkoku during a depressive episode (for both me and Godai) and suddenly Yotsuya had poked his head through a hole in the wall, into the scene, shining a flashlight onto his own face, like a kid telling a ghost story, all while he made funny faces and Takahashi’s typical gag with the sign language “I love you” gesture.  The woman cannot let things stay serious (except for Mermaid Saga, parts of Inuyasha, and some short stories), and I love her for it!  ^o^  But the way she suddenly injects ridiculousness into scenes and character designs, suggest, at least to me, an intended fast paced delivery with the jokes.  That sudden shock when you notice Yotsuya making faces in the corner of a depressing scene. That sudden shock, when Ranma is hiding from his mother, and is clinging to the ceiling or futons like Spiderman, and Akane is just supposed to act natural so Ranma’s mom won’t notice where he’s hiding.  To me, this suggests the punchline is supposed to come at you like a sudden punch, unlike awkwardness that hangs in the air.  So when the anime tries to make the joke linger, I just don’t enjoy it as much as when my brain can dictate the faster pacing I want (and believe better fits) while reading the Ranma ½ manga.  

Also, the manga is better because those manga filler episodes were not as well written as the manga.  Rumiko Takahashi is a master of short stories.  And that shows when you run into the less-effective filler anime episodes–even when you don’t know they’re filler episodes!  I remember watching the Ranma ½ anime before reading the manga, before there was even internet lists of which were the filler episodes, and coincidentally, all the filler episodes did not make me laugh out loud, whereas every episode up until that point, had made me uncontrollably laugh.  I feel like the anime thought that because Ranma ½ was an episodic, very silly series, they could just insert anything and it would fit.  But clearly, only  the manga-based episodes—and even individual scenes!—had the nuance of Takahashi’s writing and pacing, to make even an episodic, ridiculous series work.  

  Also, I love how this video essay just lavishes the love on Rumiko Takahashi.  ^o^  

Another thing this video essay pointed out that I appreciate about Ranma ½ is how indifferent Ranma is to all the advances of his suitors or even accidental fanservice.  All the consequential “harem genre” series that tried to emulate Ranma ½ always seemed to include male protagonists who were surrogates for the audiences’ intended horny reactions.  But Ranma was neither turned on, enticed, nor tantalized by even accidental fanservice falling into his lap.  (As Mother’s Basement has noted, harem genre protagonist have a penchant for accidentally falling and grabbing a girls’ boobs, or their face falling into her boobs, or accidentally put into a position to forcibly see up her skirt, etc.)  If anything, he’s more embarassed that he accidentally walked in on girls in undress, rather than enjoying the view OR reacting so long, that the scene drags on, fixating on the accidental nudity/groping/fanserivce.  And I was about to postulate that maybe because most harem genre and fanservice series are usually made by straight men for an audience with a Male Gaze.  But Takahashi wrote Maison Ikkoku’s Godai, right before she created Ranma ½, and he very much enjoyed the view, took peeks, and fixated on any accidental fanservice.  So it’s actually Ranma himself who had reactions and a perspective that were very agreeable to this asexual.  

I hadn’t noticed before this video essay said it, but Happosai really is condemned much more for being the “pervy old man” archetype, whereas other series are very permissive towards that same archetype, even when they’re being sexual predators.  I’d like to attribute this to Takahashi bringing a woman’s perspective, but Sailormoon was also written by a woman and (if I remember correctly) Rei’s grandpa’s pervy ways were reprimanded in only 1 episode then permitted as a running gag in the rest of the series (thankfully, not often).  Then again, lots of the Shoujo genre also advocated for many toxic traditional ideas about gender (like girls picking romantic partners who don’t respect them, and girls being fully devoted/invested in such guys, because they “once” meet the bare minimum for human decency by being nice to them once).  So maybe it was uniquely Takahashi’s prerogative to not let the “pervy old man” archetype slide as supposedly “endearing” silliness.

[redxblueihateloveyou]

This is a personal opinion but from where I see it the Given movie and the anime itself definitely was... something that I would question because somethings just.. didn't make sense to me. The development of the Characters were either super fast or super slow and it made the pacing really really weird for me idk. But I do think that a huge reason so many people love the Given movie is because of the fact that when you compare Given to OTHER JP BL animes, there's very very slight improvement in terms of the story itself of Given. Is the story poorly executed? Fucking hell, who the hell is going to say no here. But is it better then some of the JP BLs out there? That's depended on how you view BL to be. For a lot of people things like Super Lovers or Hitorijime My Hero are super unbearable to watch because it's "problematic" (which honestly okay, you do you BB) which then leads them to look for BL animes that DON'T have such "themes." Leading them to actually liking things poorly executed but just "not problematic", Given for example.

Given is “not problematic”? Debatable.

Their first kiss was right after Mafuyu finally had a courage to sing a song about his ex who commited a suicide. ???

Problematic doesn’t only mean stuff like “he’s underage”. What about using someone to get over your grief or getting into a relationship with someone who is still not over his ex death and is vulnerable at the moment? Is this suddenly “not problematic” bc they’re same age and he haven’t pushed him into a wall in throws of passion?

To me it’s not even about the fact if it’s problematic or not (it’s rarely not tho, no matter what ppl think), it’s about whether its believable and feels genuine or not. It depends on many factors: situation, characters past, traumas, etc, etc. It depends on the story and how you write it.

Change some stuff and it’s gonna be a completely different thing. Make it like Uenoyama only hugged Mafuyu after the song, even tho he wanted to kiss him, but knows that it’s not the right moment. Make Mafuyu heal first, make Uenoyama be in his own angst that he loves Mafuyu so much for example, but cares about him recover more, so he doesn’t expect for it to go somewhere, then he tries to date someone and Mafuyu first starts getting out there, when he feels like he can start trying again. Someday he gets sick and Uenoyama cancels his date to take care of him even tho it’s nothing serious and then the realization comes. Make Mafuyu kiss him first and take the first step. This would’ve changed everything so much. He should’ve made the first step when he was ready, this would’ve felt so right. Uenoyama kissing him after that song is just.. it feels, I was like ehhhmmm.. weird?

Seeing someone saying that Given is a masterpiece is hilarious to me. The fact that it includes heavy themes like suicide, doesn’t make it a masterpiece, esp when it’s handled this badly. Once again, if you pick such thing as a base for a love story, do it right then, not in a “bibbidi bobbidi boo” kind of thing. 

BL or not BL, any relationships, it depends on whether you watch it and it feels plausable or not. 

For example, if Yuu says that he can’t live with Mika, my tongue won’t even twist to call it “unhealthy” or be like “dude why”. But if some high schooler in slice of life anime who has a caring family tried to end himself bc his two weeks friend left him, I would’ve yelled “bitch go see a doctor”. 

Depending on the story you can sell some feelings or not.

Nezumi and Shion are also problematic according to ppl’s logic these days. But I 100% believe they’re each other’s true loves. Only 11 episodes and it’s sold.

In Given I didn’t believe it. Bc it’s ridiculous, ok? It wasn’t the right place or time to start this relationship. It is not a new love story, it’s just a sad story. 

Given movie is slightly better compared to other japanese BL? Why would you offend Sekaiichi Hatsukoi, Uragiri wa boku no namae, No.6 and many others?

Also better where? They kept the same old “’stop, i don’t want to’, but he did it anyway” stuff AND on top of that the story sucks.

The way he used him knowing very well that he was unrequitedly in love with him for so long is so disgusting that it leaves a much grosser feeling than many yaois combined. You’re saying “it’s slightly better” bc they’re of age or don’t have an age difference? I don’t get it. It somehow makes everything better?

No, thanks. I’d rather watch Onodera sleep with Takano in high school with them being genuinely into each other and it going great than whatever happened in the Given movie. I don’t care if they’re both 18 there, it made me feel bad.

I didn’t feel bad, when Wei Wuxian thought “why the fuck didn't I have sex with Lan Zhan back when I was 15? I've really pissed away all my days, haven't I?”. I wonder why is that.

Like what you’re saying here is that their opinion on BL is so low that they automatically would give it 10 out of 10 bc it’s slightly better than smth that they find “unbearable” to watch? What kind of evaluation is that exactly? Maybe also let’s compare each anime to “boku no pico”, then everything will look like a masterpiece.

Like excuse me for the fact that when I watch some shonen-ai and yaoi, I judge it the same way I judge any other genre and any other relationships (hetero or gay) in animes. On a scale whether I care or don’t care, whether I believe that they love each other or don’t, whether it’s a good story or not. I don’t get what it means “it’s good for yaoi”. It’s just not good. This movie is trash, I mean, the relationship in it is trash. Who the fuck cares gay or not gay. Trash relationships are trash. Bad story is a bad story. Whether it’s a bad gay story or a bad hetero story, I don’t give a shit.

The reason I’m more into boy on boy ships is because I love the relationships there more than relationships in most heterosexual couples. My fav hetero ships are either “from hate/attraction to love” stories like “gone with the wind”, “anastasia” or “pride and prejudice” or stuff like “equals without pink goo, who only see each other and don’t need no one else and would die for each other, epic soulmates” like Richard and Kahlan. In anime 99% of those fit bromances, not romances. Like I don’t find Midoriya/Uraraka appealing at all for a reason that “she said ‘hi’, he blushed as a tomato, now they’re supposed to be each other’s romantic interests” is not what I find romantic. I find romantic the fact that Todoroki is forever devoted to Midoriya bc he knows he’s amazing and is not afraid to say it; and he’ll always be there for him when he needs him, no matter what it is, him just sitting there crying, some villain trying to kill him or if he’s too late out ther grossery shopping. Uraraka most of the times doesn’t even care where he is.

Most hetero romantic animes, I just find ridiculous, too cheesy and unrealistic and I’m not ready to watch 50 episodes for them to hold hands. I’m not in that age and I also never found things like this romantic before either. Stuff like Kisa/Yukine, when you meet someone, find him attractive, wanna fuck him, then fall in love accidentally.. yeah, that’s understandable to me. Stuff like Takano/Onodera “I was an naive idiot in high school, but now life made me a sassy bitch and I can’t open up to people as easily” also yes, relatable. 

When you’re turning into a tomato bc someone said “penis” and think holding hands will take your virginity or smth, that’s not my thing.

So when I watch BL, I expect more, not less. So if it’s bad, I just say it’s bad, I’m not gonna be like “hmm... unproblematic... then 10/10″ like what? 

1stly, even “little mermaid” and “cinderella” are problematic. 

2ndly everyone is so focused on purity these days, like storyline don’t matter at all. It’s like any great love story is automatically trash if they have age difference. Any trash love story is great, if they don’t?

Let’s then also rate “Dororo” as 1, bc it’s like 24 episodes of them falling for each other while she’s 11 and he’s 16. Wow, such gross relationships they have during the whole story. Doesn’t matter that she grew up at the end of the last episode, the whole anime she’s a child. And let’s rate Noragami 0, bc 2000 years old perverted Yato is into 15 year olds.

No one has to fuck asap (heck even in the same hella problematic “Super Lovers” you talk about, Haru refused to fuck Ren even tho he was 17 in s2 and wanted to fuck another guy) and the rule “you can only fall in love after 18″ doesn’t exist. Also underage is not BL thing, it’s all anime thing. It’s time to shut it already. There are zillions of age gap couples out there who are great. Hyakkimaru waited for Dororo to grow up, it’s fine, seriously, they love each other in the right way, he didn’t want to fuck her when she was 11, okay? They did love each other tho already then. Pls excuse them for that.

3rdly, some relationship that ppl here call unproblematic are 20 times more problematic, than what they call problematic.

4tly, why the heck it’s like couples who have an amazing character and relationship progression, who love each other to death and will do anything for each other, ppl go: “wow, at the very beginning, he grabbed his wrist, he needs to go to jail”. Meanwhile a relationship who has no base, no story, no logical progression, no anything are “yes, best love story in the world”. Yeah... who cares if it feels like it’s all been pulled out of an ass and doesn’t make sense, very healthy tho.

It sounds lately like if most ppl here had two stories in front of them and one would be about two men who just met and the next day one proposed and they lived happily ever after and 2nd would be some complicated incredible story with a natural progression of the relationship, but they yelled at each other once, they’d be like “1st is better”. Well, not to me, no.

[bleachbleachbleach]

HELLO.

I just wanted to say that I love, love, love your tags on that character/tool post a lot! Some of my favorite shows/books involve characters that can't keep it together and just barely make it to the end of the story or make it there in an "inconvenient way" and tbh I find that usually the narratives that follow these characters don't really work away from them either--the narrative is just usually more questioning instead of fully formed.

Like, 'what if/how would', y'know? There's less of a clear meaning and more just 'what if they hadn't done that. what if they had done that. what if all that meant nothing. what if that struggle was all there was'.

But oh boy, when they DO work away from the narrative. *chefs kiss*

I mean, most of my favorite Bleach characters are narrative nightmares who either hinder or cut off lines of theme in the story entirely. And, in general, I think there are A LOT of characters in shonen--a genre known for very long narratives that can't possibly complete every thought but also can't just abandon all those characters introduced ESPECIALLY the fan favorites or personal favorites--work in the way you described.

Tbh i think your tags really highlight why so many ppl get drawn to these characters/why they're so fun to play with in fanfiction.

If you have more to add or more thoughts about this you want to lay down I am here, eagerly awaiting and ready to pick them up.

Also, who do you think in Bleach is the most fun characters who sort of drop kicked the story, in your opinion? Who's the one you like the most? And who's the one you dislike the most?

[For posterity the referenced post is this one.]

Aww, thank you! That’s really lovely to hear. I was anxious about even putting it in tags because I don’t think I presently have the capacity to explain it well—and even if I did might still sound bananas to many. Or at least the bit about negotiating with characters and how *they* feel about being subjects in stories. Because as much as that really is my practice saying it out loud takes me back to like… FFN in 2003 where every store was prefaced by extensive chat-form back-and-forths between the fic author and their character "musies" and that is not something I think fandom would benefit from bringing back in force, hahaha. But anyway.

Here’s the part where I disappoint because I don’t think I actually know Bleach well enough to speak to it in this context. WHICH SOUNDS DUMB EVEN AS I TYPE IT BECAUSE LOL WTF IS THE NAME OF THIS BLOG WE ARE CHARLATANS AND POSERS FOR CLAIMING AS OUR NAMESAKE NOT ONE BLEACH BUT THREE BLEACHES but truly, my experience of Bleach has a shallow depth of field. I feel like I have weirdly intimate knowledge of some severe rabbit holes but a non-existent to uneasy sense of the gestalt.

Like idek man, in my "slow re-read where I am actually paying attention" Ichigo hasn’t even met Byakuya and Renji yet. ToT

I'm gonna put this behind a cut because it spidered all over the place, but in summary:

characters and their capacity to produce narrative failure

the charm of longform serialized series and their invitations to imagine stuff

me attempting to talk about Hitsugaya and feeling a fool, as usual

I guess in general terms, I’m really interested in characters and their capacity to produce narrative failure. Not failure as in 'bad' but failure as in things that break form or are circuitous or are actively detrimental to a narrative arc. All my strongest examples of what I’m thinking of are from a different fandom and therefore not relevant to this blog, alas. By comparison I think anyone in Bleach can keep it together better than the characters that are immediately coming to mind, lol. But I think this idea dovetails often with trauma narratives, or depression narratives, because these things are often… non-narrative? Like, there’s no fourth or fifth for minor fall or major lift. Sometimes it’s the same thing over and over again, or maybe nothing. Maybe it’s the exact same self-sabotage narrative dictates could have been avoided. Maybe it’s some act that emanates forth but cannot be explained because it cannot be explained and will never be explained. That’s a version of what I’m talking about, in any case, though not the only version.

Your note about longform shounen definitely resonates with me, too. In my mind I don’t like long things and I prefer series that are more self-contained but whenever I have ever landed in a long-term fandom, with a piece of media I felt obliged to carve out chunks of my life for, and to interact with at that level of creative fannishness, it’s always been something stupid long and serialized by the seat of its pants. I know plot holes or dropped threads bother a lot of people (makes total sense, don’t get me wrong) but I find these things incredibly attractive. I see them as invitations to join in the fun. Especially when it’s so much a part of the form and genre to have this, as you said, lack of real expectation that every thread will be followed to its conclusion (or that it would be worthwhile to do so) and every thought completed.

There’s this piece by David Grann that was published in The New Yorker in 2004 that I really love that speaks to part of this idea, albeit in terms of fictional universes versus fictional characters. But Grann is talking about Sherlock Holmes (Doyle original) and the ways that Sherlockians would like, approach apparent lapses in narrative and then solve them according to the established rules of the universe. I just love that. There’s also the line, "Never had so much been written by so many for so few," which LOL if that ain’t fandom I don’t know what is!!

I feel like I’m actually talking about three distinct but related facets of these thoughts in this post, except all at once and without clear transition, uhhhhh.

Gah, I am broken and now can ONLY think of examples from my not-Bleach fandom, but to try a different tack and add yet another facet to this already funhouse-mirror post, my various attempts to write Hitsugaya often feel like they come up against a version of this. I think Hitsugaya has aggressive side character energy, and I find it difficult to make him the center of a story and have it feel right to me. He feels different to me than writing other minor characters, where they can be the center of their own stories even if their story is not the main story. Like, two of my fave characters in my other fandom have literally like… three lines in 350+ episodes and it feels easier to imagine THEM at the center of their story and I think what it comes down to is that Hitsugaya probably prefers what he not be written. And when he does become more narrative I think he’d prefer that none of it was happening in the fist place. But at the same time he always seems to be…around??? whether there is really a good reason for him to be present or not. XD So while, say, he and Bartleby "would prefer not to" (because THAT'S what this post needs, a Melville reference), Bartleby actually opts out and Hitsugaya out here volunteering.

He also often feels non-narrative to me because he feels very declarative, if that makes sense? Like, the coming-to-decisions or coming-to-realizations parts of existence happen pretty quick, or are approached perfunctorily. I feel like I find narrative in the "coming" part of that equation and instead Hitsugaya will be like, well, I’ve already done that part without you, and/or plan to do that part in the future and it will still be without you, the audience. Anyway, here’s the determination I’ve made, here’s what I’m going to do, and here begins the long and probably tedious process of my doing that thing (off 2 go train in a cave for a bit). I don’t think he actually believes the world is that simple, Tab A into Slot B, but I do think he’s already made that assessment and can see coming to terms with that as a horizon, if that makes sense. So even if he doesn’t know the answer to something, or is completely at a loss of what to do (what to say to Hinamori? how to productively address the number Aizen’s done on him) there’s still not necessarily a story there. Maybe the answer is you grind, and it is repetitive and boring. Maybe you just hold things. There’s not even the act of learning how to hold things, necessarily, just the practice of doing so.

Wow, that probably doesn’t sound good! I feel like I need to suffix this with the assurance that Hitsugaya is my absolute runaway character in the whole series and this was true 15 years ago and it is still true now (truer, even) and everything I just said are reasons why I love him.

[astharoshebarvon]

I am just so disappointed and sad by what I read in a shoujo manga. I couldn’t understand what the characters were saying but it doesn’t take a genius to figure out what the author was insinuating.

I thought there was serious homophobia going around in it before but I thought maybe I was overthinking the whole thing. I know I wasn’t I was just trying to make myself feel better.

But now it seems like I was spot on with my observations.

Never thought some shoujo mangakas are going to sink so low as to make a character who seems/is gay try to break up the marriage of the main straight couple. Like seriously, you ran out of all cliché, lame ass bullshit that makes up most of shoujo manga plots that you had to drag a gay character into the mix.

God, just say you hate gay people and get out. No need to make them villain like in your story. Take lessons from Clamp if you really want to write same sex relationships or a lgbt character. Or maybe from the author of Hana Kimi. Because you are doing a shit job of portraying them the way you do. How can anyone even write garbage like this in 2020 and get away with it?

If you don’t know how to write lgbt character just write them out, do not include them. It’s annoying, highly disrespectful and gross.  

No wonder many fans of shoujo/shonen are also of mind : same sex relationships can be used for humor or comedic effect. We don’t want any real, serious relationships. We don’t like them.

Why are there so many shonen ai, yaoi, shoujo ai anime? Where are straight fucking anime?

Just shut up! Literally all animes are straight! Are you being willfully blind or stupid? There are so few shonen ai, yaoi anime. What the hell are you on to write such horrendous lies?

Ugh. I am still so disgusted by these comments.

Are writers really that upset because more and more people are liking shonen ai, bl, yaoi manga that they have to resort to these petty, horrible tactics in their manga to insult a genre that badly?

I was of mind to buy the manga because the art was very pretty, but now. No way in hell I want that homophobic trash in my collection. Pretty art will only go so far.

This behavior isn’t even surprising if I am being honest here. I have come across a lot of FM stories/fics which literally use derogatory words, slurs for gay people. And, yes, it’s mostly for MM relationship not FF. There is also apparently selective homophobia going around too. FF is fine, it’s MM which is wrong.

FF is fetishized like anything by straight story writers. It’s just so gross to read the straight guy fantasizing about two females as if they exist to make your gross fantasies true. Eww.

Then you have the real winners, the so called writers who want change, diversity in MM ships by turning one character into a freaking girl.

Just say you want straight sex, tons of babies and the dominant male spouting how much he wants to fuck the OFC and  see her round with his babies or some other cringe worthy dirty talk.

There’s the hard core truth which will never change, the genderbent characters are OFC. They are just self-insert to live your fantasies with the other guy. At least admit the truth.

Harry is a boy and will always be that. No amount of fem harry bullshit will turn him into a girl. Some even have the audacity to give the oc a brother who is exactly like Harry. Just say you hate Harry and same sex relationships and get out.

I sigh every time when I see the crack stories appear in my pairing, HP/TMR, tag. Just be brave and list them as oc fics. They are that and always will be that. Stay deluded forever thinking fem Harry exists. Why are they even part of the real, slash ship tag? Who the fuck is femHarry?

I wouldn’t be surprised if in said shoujo manga the male lead humiliates the seemingly gay character, or makes fun of him or does something equally loathsome. After all he has made his braindead, stupid, completely garbage of a wife cry, insecure. He deserves to be hurt.

The fem lead is just so stupid it’s not even funny. Most people read it because of the handsome guy, that’s the truth. The girl is so weird and dumb that I am surprised someone even came up with her character.

Then again most shoujo heroines don’t have anything between their ears. They are the ultimate Mary sues, doormats, crybabies or bamfs like anything. They share quite many features with the cracky ofc/genderbent females in fics.

Thank God for mangas like Akatsuki no yona! I would lose faith in shoujo genre if it weren’t for such good stories.

Since we are on the topic of bias, let’s talk about that too. I wouldn’t even be surprised if that weird as hell thing happens in that fanfic sequel anime. Straight ships get away with any bullshit, no matter how weird or strange they are.

There would literally be opposition if the same was shown in any same sex relationship.

Giving the example of Twilight to justify yourself, seriously? Bella tried to kill Jacob after she realizes what he has done. It was weird that he had feelings for Bella then all of a sudden his whole world is Bella and Edward’s daughter. Does that not sound strange at all? (VK has same bull. Ai was first after Zero, then became fixated on his daughter who also returns her creepy affections. Zeki and airen are just so bad. I’ll take Zero/Kaname any day.)

I read a very good post once and it may have been a joke post but it was so freakin true. Why didn’t Jacob feel any attraction towards Edward? Why only Bella? Renesmee was part of both of them or am I supposed to think Bella somehow made her on her own?

Not to mention it’s hilarious as hell when one self insert creepy ship tries to tell another self insert ship we are better than you. Nah, you are both trash of different varieties. One is a pedo ship, one is gross as hell. Thinking the only logical choice for someone is that person’s brother’s wife is amazing. They are both garbage ships who shat on every other ship of this disgusting pedophile.

These shippers vile, gross comments are all over deviantart and other sites. 

Not to mention the blatant disregard these assholes have for Inu no Taishou’s legally, wedded wife, Izayoi, Inuyasha’s mother. It’s truly shocking how vile people can be. We get it, you hate Touga/Izayoi because you all wanted what these two lovely people had, a marriage full of love and devotion which you all never got.

Lady Izayoi was no ones mistress, Inuyasha was never ever a bastard. Inu no Taishou/Touga married Izayoi, he loved her and his child so much that he died for them.

Die mad insulting them, they will always always be one of the best couple in this series. Pedo ship, sister in law /brother in law ship can only wish they were like them, they will never be like them. They are both vile.

Certified pedo’s mom was either a one night stand, or had friends with benefits relationship with Touga. He didn’t commit any infidelity, he didn’t betray her, he didn’t two time her. Her ass is chilling in her palace and has absolute no animosity towards him. The greatest disservice to her character will be if they were to make her a creepy pedo enabler too. I hope she never shows up.

Mates don’t exist in inuyasha, she was no one’s mate. More likely, youkai have no such things as bastards. Because that’s exactly what the certified pedo would be if that were not the case, Inu no Taishou and inukimi were never ever married.

I just hope they won’t bring back Touga and Izayoi in this disgusting and vile sequel, they are the only two people left in this series who are not goddamn pedo enablers.

No wonder they called the creepy woman, Zero. She is a fucking loser and a jealous bitch. Touga didn’t owe anyone, anything. He and Izayoi were good, happy, couple who loved each other and people can stay mad about it. She is wife, she is his wife, his only wife who he loved so much he died for her and their precious child. Inu no Taishou adored his wife, Izayoi, and their precious child, Inuyasha.  

I always thought Touga loved his sons equally and all the trials he put his first son through were so he realises he is wrong about many things. But now, it’s more likely he made as many plans as possible to humiliate him because he knew somewhere in his heart he was gonna turn out to be a fucking bitch. 

[rirururu]

Hey Riru, saw your analysis on Zenitsu and it's really good! I'm just wondering- in general, what do you think makes KnY work? What makes it distinguished beyond other shonens?

Hey there! Thank you so much for the ask. Sorry about the late reply as well. I’m so happy to hear that my analysis on Zenitsu has managed to reach a lot of people and have them rethink how they perceive Zenitsu as a character. That’s honestly all I can ask for!

As for your question? Well, I’m not a huge fan of the idea that you have to justify liking a series by saying that it’s better than other series of its genre. I like My Hero Academia but it’s not the best shounen out there, definitely not. In some ways, Kimetsu no Yaiba is worse than My Hero Academia while being better in other aspects. With that being said, I do think the Kimetsu no Yaiba manga is quite flawed. It relies too much on narrative exposition, off-screens a lot of important character moments that aren’t battle-related, there are too many flashbacks, the story is a tad too predictable, and the placing of comedic moments can be pretty wonky at times.

The editor of KNY has said that the mangaka is not always aware of the best parts of their characters. He even revealed that the author was contemplating scrapping the scene with Tanjirou taking the demon’s hand in the final selection arc even though it was such a profound part of his personality. Thankfully, they were convinced to keep it. And therein lies the problem. It’s important that the writer of a story knows what makes their characters good. If they don’t, it results in a lot of missed opportunities. Characters who should get a chance to develop/shine in a certain situation end up being neglected. Zenitsu not really doing much in the drum house arc when that could’ve been a perfect display of how he uses his ears to fight while sleeping, causing confusion from the fandom on how he moves with his eyes closed when there’s no alter ego, is a perfect example of this.

But on the other hand, I’ve never met a more lovable cast. There’s not a single character that I dislike in this series and that really says a lot. It’s a habit of mine to compare one character’s backstory and motives to a character that I’ve seen from another series because they’ve been used so many times. It’s easy to give someone a recycled sob story. The reason why troupes exist is because they work, after all. Although I do the same with Kimetsu no Yaiba, only once (with Kanao) has it ever come up as a problem for me. All of the characters are three-dimensional in a way that’s very unique to this series.

I’ll use Tanjirou and Zenitsu as examples. Tanjirou’s story concerning his entire family being killed and his sister being turned into a demon isn’t actually that unique. It’s appeared a lot in countless other anime. But the way it’s being used as a motive to his character as well as how that ties to him as an overall selfless person who would never seek revenge executes said troupe in a very genuine way. It continues to tie into his values of showing empathy towards demons because he’s seen first-hand what it turned his sister into. Then there’s Zenitsu. He’s the “womanizer” troupe. However, we can see how him being so desperate for a girl’s attention is a direct result of him having grown up as an orphan with no one believing that he could protect anyone because of his habit of running away. Him wanting a girlfriend ties with how he wants to develop as a person in becoming someone strong and worth being loved.

I’d say more than half the cast of Kimetsu no Yaiba are as well thought-out as those two if not even better. Compare that to another isekai of the season anime like The Devil is a Part-Timer that tries too hard to break the troupe with a very unique premise / backstory but ultimately fails at the execution. Imagine if we actually got to see Maou as an anti-hero who did bad things because he’s Satan before gradually learning what it means to be human? It could’ve been a very genuine and heart-warming story. Yet the main character somehow fell into becoming a typical harem main protagonist almost immediately after entering Earth. Style over substance, in other words. Unfortunately, a majority of shounen and anime in general fall into this category.

Kimetsu no Yaiba is an anti-thesis to this at such a monumental extent (yes, even more than MHA) that I feel makes it stand out as a series from other good anime around it. Sure, because of the author’s occasional lack of awareness of these traits, it sometimes takes a bit of inferring from the audience to connect the dots. But the dots are there and implied heavily enough that we can deduct these things ourselves. That’s another thing too. Kimetsu no Yaiba’s story can fall apart a little if you look too much into it. But at the same time, the more you look into it, the more amazing that you realize the world and its characters are. It’s a flawed story but one that has a ton of heart from an author who is doing their best. I can say with confident that I am proud to be invested in their manga.

[pennysword]

An Ode to My Hero Academia

Okay, like every anime fan, I've fallen into the My Hero Academia hole and can't get up... and that's not a bad thing.

I'll be the first to admit that I wasn't on the fanwagon when My Hero Academia landed on American shores in 2016. I was two years out of college and the only thing I cared about was finding a nine-to-five that paid my bills and kept my mom from telling me to do something with my life. I was also deep in the pit of post college depression, wherein I'd moved away from all my friends and thought myself too socially awkward and weird to be able to make new ones. That's something a lot of us deal with, I think, especially when we're forced out of our comfort zones.

I am a shojo romantic at heart. Most shonen don't really hook me emotionally the way shojos do. And if it does hook me, it's set in a world so fantastical and so bizarre that my interest wanes before long and I would forget the plot all together. When I did delve back into manga or anime (decreasingly so once I got my first adult job at twenty-three), I wanted to wrap myself in the blanket of the tropes that were comfortable to me: a wallflower female lead with surprising feistiness and sense of justice, a beautiful male lead like prince from a fairy tale, a second lead who would do anything for your affection. These stories were mostly set in the real world, even if they didn't make sense sometimes, I could make excuses because I loved the idea of shojo so much more than disliking the flaws.

While a lot of my friends watch anime religiously, I'm more of a casual fan (which is really a nightmare to otakus, who expect you to know every single canon, fanon, and side canon that has ever existed). I remember my first encounter with the show was equally as casual. My friend explained to me it's general concept while waiting in line for my badge at ACEN 2017. “It's about superheroes! There's this girl who is literally a frog! An ostentatious personification of America! When people cosplay this other character they wear a green zentai suit because she's supposed to be invisible and that's funny!”

Fresh off the tails of One Punch Man, which came out in 2015, I thought it was the same concept and I rolled my eyes. I knew that anime followed trends, like most things in the world: one year psychic-mecha anime was what everyone wanted to do and the next, post apocalyptic themes were all the rage. So I thought My Hero Academia was just another One Punch Man, a self-referential, satirical comedy about heroes who knew how ridiculous their own genre was. I'd seen it once and wasn't really interested in seeing it again.

My second encounter with My Hero was a bit more personal. It was 2019 and I was taking my eight-year-old cousin to her first anime convention ever. Her family has always been a little more conservative, being Jehovah's Witnesses and living in one of the most right wing cities in Mid Michigan... and I was thrilled when she confessed to me that she enjoyed shonen-ai, that her mom had bought her a complete set of Sailor Moon manga, and that she wanted to borrow my own personal manga collection for reading. There was only a four month turn around, but I made her a janky cosplay and drove her to Kalamazoo for one day of their local convention, Dokidokon, wherein she pointed out someone cosplaying her favorite character, Shoto Todoroki from My Hero Academia.

At this point I had the base knowledge that my friend had given me at ACEN two years prior, but I just couldn't follow what my cousin was saying. After she shyly asked for a picture with the cosplayer, she explained to me why she shipped this character with that character and why that other character was a jerk... I couldn't understand any of it. And I realized that I had missed something much more important than hopping on the fanwagon of one of the greatest anime of its time... I'd missed an opportunity to connect further with my little cousin, someone who was just beginning to sprout seeds of her own ideas and her own interests, separate from her religiously zealous mother and her perpetually aloof father. I had missed a chance to truly enjoy her happiness, to witness her excitement when she saw her favorite characters pop out of the television screen and manifest themselves before her, alive and in the flesh... and just as heroic as their two dimensional counterparts.

That fall, I watched the first episode of My Hero Academia on my morning elliptical workout and my life was changed.

I mentioned before that one of the reasons I have a difficult time connecting with the shonen genre is the fantastical worlds that I cannot relate to. For instance, I can apply logic to the world of Naruto in my head, but it never seems real like it could be real to me. I always find myself questioning social structure, in-world history, and the story's depiction of the human condition. There's always a nagging voice in my head that refutes all of these pretend worlds in shonen... but My Hero is set in a world not unlike our own. In fact, aside from his green hair, the main character seemed like someone I might have known in middle school: a small, meek nerd type who is always scribbling something in his journal, always knew more than he was letting on... someone you wanted as a friend, whether you realized it or not. Izuku Midoriya as a character is as close to the shojo trope of a wallflower main lead as you could get. When we meet him, he's quirkless and is often bullied for by his childhood frienemy, Katsuki Bakugou. He's kinda squirrely, kinda spazzy, but feels like a grounded character because his golden heart is his most defining attribute. Midoriya has no illusions about what he is. He knows he's weak. He knows that people look down on him. But he is just… good. His goodness is infallible and his goodness rings true in everything he does, including when he risks his life to save said bully in episode two.

Conversely, while Midoriya is full of impressionistic verve, Bakugou turns the tables on the typical second lead shonen stereotype because he's not some edgelord that wants revenge for his slaughtered family. He actually has both parents at home and lives in a nice house and neighborhood. He doesn't have some kind of revenge fantasy playing in his head on his journey to become the best hero... he's just a fucking dick. A dick with a chip on his shoulder because his whole life people have told him that he's the better than his peers... and when Midoriya proves to Bakugou that natural talent isn't everything, he must grapple with the idea that world wasn't everything he thought it was.

Midoriya doesn't automatically become a cool kid after attaining his quirk from his idol, All Might, either. He doesn't stop being socially awkward. Midoriya still nerds out when it comes to All Might and he still takes copious notes on every hero he encounters, his classmates or otherwise. Midoriya has a goal but he doesn't have a grand plan. There's no shortcut to the end, only day after day of hard work and determination and figuring shit out on his own. Since he is the protagonist, we see the reasoning behind everything he does and this fact grounds the world of My Hero Academia for me. We see Midoriya fail and win and fail again, but we never stop rooting for him because we know he is smarter and more capable than his awkwardness allows him to show the world.

We follow Midoriya during some of the darkest times of his life, including when he learns that he would never develop a quirk. What hurt him more than the doctor delivering this news was his mother's fervent apologies rather than words of encouragement. Because even without a quirk, Midoriya could have done anything he wanted to, had he had the support of his family. In shonen anime the parents are usually convenient plot devices or they are dead. In My Hero, though, Midoriya has a close and communicative relationship with his mother. One of the more powerful scenes involving Inko Midoriya is when she refuses to let Midoriya go back to his dream school despite his protests. She explains that, first and foremost, she is his mother and her duty is to keep him safe. When I see this scene I always choke up because this is how humans act and I don't think I've seen it in another shonen before. I hear the common argument, “Well, he's training to become a hero. He's gonna get hurt.” as a justification of why Inko should be fine with Midoriya's broken bones. And while logistically that may be true, we know that most parents wouldn't feel that way. It makes sense as a narrative, given what we know about Midoriya and Inko's relationship.

Something I also love about this series is that every character has a fail stop, a logical reason why they aren't as OP as possible: if Todoroki uses his right side too much he gets frostbite and if he abuses his left he gets burned. If Ururaka overexerts her Zero Gravity, she gets motion sickness. Even All Might, Midoriya's mentor and the strongest hero in the world™, cannot be in his hero form for more than three hours a day. Every character must learn to recognize and live with their shortcomings, because even heroes need to find their place in the universe... and rely on those who fill the empty spaces around them. Because this show, despite it's taglines and ultimate moves, thrives on the logic of balance, of give and take accepting that no one can go at it completely alone, I realized that it was nothing like the aforementioned anime. It was so much more.

Like my friend told me three years ago, on a surface My Hero Academia is about superheroes. It's about capes and costumes and training montages and redemption arcs and all the things that we nerds love... But beneath the surface, My Hero Academia is about recognizing your own power. Izuku Midoriya isn't a hero because he inherited All Might's quirk. He's a hero because, to the very marrow in his bones, he does what is right. Izuku strives to be better than his own self doubt and the world telling him he's not good enough, even though most times he ends up crying his eyes out. He embodies the will to succeed that we all have within us when we find our passions, whether it be beginning your fitness journey with some anime on the elliptical, bagging that nine-to-five job, or something more substantial, like training, despite the odds, to become a hero who saves people with a smile on his face.

[its-naruto-universe]

My top Anime of the season

Spring 2017

Ok since the first time I did this It was quite appreciated, I’m doing it again. Those are the anime I enjoyed the most this fall. You should definitly check it out :)

*The anime aren’t in order since I’m doing first the original anime of the fall followed by the sequels

-Oushitsu Kyoushi Haine

I’ll be honest, I was expecting nothing from the anime. I thought it woud be the same fujoshi bait with some bishounens and the chibi moe sensei. Oh I was so wrong.

This became easily my favorite anime of the season. The characters are so loveble, the animation and character design is great and so is the story.

It goes from adorable and silly

To serious and somehow sad and touching arguments, such as selfconfidence, society and family.

Synopsis

Equally charming and stern, Heine Wittgenstein is a brilliant man who commands respect, despite his short, childlike stature. Thus, the king of Grannzreich has called upon Heine to undertake a daunting task that has driven away many before him—become the new royal tutor to four princes who are in line for the throne.

The four heirs each have very distinct and troublesome personalities: Licht, the flirtatious youngest prince; his immature older brother Leonhard; Bruno the studious third prince; and Kai, the oldest of the four and the most reserved. Hilarity ensues as Heine attempts to connect with each of the princes in order to groom them for the throne. However, Heine's mysterious past and dark undercurrents in the present may threaten the harmony within the kingdom.

[Written by MAL Rewrite]

-Zero kara Hajimeru Mahou no Sho

From what I’ve seen this anime was quite underwatched considering how good it was for its genre. This was quite enjoyible and the bond between the two protagonists zero and yohei, It’s one of the best I’ve seen in anime. The anime is the adaption of the first light novel, and I think they did a great job afterall.

Synopsis

In a world of constant war between humans and witches, there exist the "beastfallen"—cursed humans born with the appearance and strength of an animal. Their physical prowess and bestial nature cause them to be feared and shunned by both humans and witches. As a result, many beastfallen become sellswords, making their living through hunting witches.

Despite the enmity between the races, a lighthearted witch named Zero enlists a beastfallen whom she refers to as "Mercenary" to act as her protector. He travels with Zero and Albus, a young magician, on their search for the Grimoire of Zero: a powerful spell book that could be extremely dangerous in the wrong hands. During their journey, his inner kindness is revealed as he starts to show compassion and sympathy towards humans and witches alike, and the unlikely companions grow together.

[Written by MAL Rewrite]

Shingeki no kyojin season 2

I’ll be honest, I did like the first season of Snk but I pretty much couldn’t stand most of the characters. With the second season I understood how silly I was and how much of an fucking masterpice snk is. I finished the rest of the manga the day later and damn I can say for sure now that snk is one of my most favorite manga/ anime ever.

You don’t even need to compare them, because witt studio did a magificent job. Be it the animation, the soundtrack, the extra scenes and the most important fact. They were able to do the impossible .

Pardon my fangirlism lol

Synopsis

For centuries, humanity has been hunted by giant, mysterious predators known as the Titans. Three mighty walls—Wall Maria, Rose, and Sheena—provided peace and protection for humanity for over a hundred years. That peace, however, was shattered when the Colossus Titan and Armored Titan appeared and destroyed the outermost wall, Wall Maria. Forced to retreat behind Wall Rose, humanity waited with bated breath for the Titans to reappear and destroy their safe haven once more.

In

Shingeki no Kyojin Season 2

, Eren Yeager and others of the 104th Training Corps have just begun to become full members of the Survey Corps. As they ready themselves to face the Titans once again, their preparations are interrupted by the invasion of Wall Rose—but all is not as it seems as more mysteries are unraveled. As the Survey Corps races to save the wall, they uncover more about the invading Titans and the dark secrets of their own members.

[Written by MAL Rewrite]

Boku no hero Season 2

Ok this precious gem is slowly taking over my heart. The characters are so loveble I just can’t. There are ofc quite some tropes of the usual shonen story but the way It’s executed makes you overlook them.

Studio bones just confirm once again why they are my favorite studio by omitting the sensless possible fillers, animating properly and respecting the mangaka work.

Also a huge plus for using kenshi yonezu and amzarashi songs as openings for the anime

Synopsis

One day, a four-year-old boy came to a sudden realization: the world is not fair. Eighty percent of the world's population wield special abilities, known as "quirks," which have given many the power to make their childhood dreams of becoming a superhero a reality. Unfortunately, Izuku Midoriya was one of the few born without a quirk, suffering from discrimination because of it. Yet, he refuses to give up on his dream of becoming a hero; determined to do the impossible, Izuku sets his sights on the elite hero training academy, UA High.

However, everything changes after a chance meeting with the number one hero and Izuku's idol, All Might. Discovering that his dream is not a dead end, the powerless boy undergoes special training, working harder than ever before. Eventually, this leads to him inheriting All Might's power, and with his newfound abilities, gets into his school of choice, beginning his grueling journey to become the successor of the best hero on the planet.

[Written by MAL Rewrite]

Natsume yuujinchou roku

Whenever I see natsume yuujinchou I get this fuzzy and warm feeling I used to have when as a child alone, anime were my only happiness. It just makes me feel inside why the japanese animation has always held such a big significance on my life.

Natsume is special, it’s one of those masterpieces that is always able to move you. I’ll never stop reccomending it to people. Be it the beatiful anime delievered to us by brain base studio, or the manga accurately drawn by Midorikawa Yuki.

I also want to mention the opening of this season which in my humble opinion It’s one of the most beatiful anime opening I’ve ever seen. The visuals, the music the deep meaning behind every character aparence and the flower language just makes this so precious. It shows once again how much this anime is treasured by the studio, which is always beatiful to see in my opinion.

The link for those who want to check it out immediatly :Floria

Synopsis

While most fifteen-year-old boys, in one way or another, harbor secrets that are related to girls, Takashi Natsume has a peculiar and terrifying secret involving youkai: for as long as he can remember, he has been constantly chased by these spirits. Natsume soon discovers that his deceased grandmother Reiko had passed on to him the Yuujinchou, or "Book of Friends," which contains the names of the spirits whom she brought under her control. Now in Natsume's possession, the book gives Reiko's grandson this power as well, which is why these enraged beings now haunt him in hopes of somehow attaining their freedom.

Without parents and a loving home, and constantly being hunted by hostile, merciless youkai, Natsume is looking for solace—a place where he belongs. However, his only companion is a self-proclaimed bodyguard named Madara. Fondly referred to as Nyanko-sensei, Madara is a mysterious, pint-sized feline spirit who has his own reasons for sticking with the boy.

Based on the critically acclaimed manga by Yuki Midorikawa,

Natsume Yuujinchou

is an unconventional and supernatural slice-of-life series that follows Natsume as he, with his infamous protector Madara, endeavors to free the spirits bound by his grandmother's contract.

[Written by MAL Rewrite]