#Dungeon Meshi has no romance but it does have canonically queer characters.

[poorly-drawn-mdzs]

The squad of all time has arrived on scene.

[erros429]

why are you calling farcille sapphic representation when they aren’t even canon

had a very lengthy internal debate with myself on whether i wanted to answer this with an essay or say something short like “because i’m sapphic and they represent me.” but you guys can have the essay too.

i’d like to preface this by saying that i understand where you’re coming from. explicit lgbt+ representation is so deeply important and queer characters in media needs to be normalized instead of tokenized so that queer viewers can feel like there is a world that accepts them and that they can belong in.

HOWEVER. this does not also mean that queercoding and subtext should be devalued, especially given how ingrained it is in queer culture and media. historically, when it was a lot more dangerous to show a character as queer without villainizing them in some way, subtext was all a queer viewer could have. but it’s because of those small hints (see: the legend of korra) that we could have popular media that unabashedly shows queer love. however, even that representation has been stifled, either by only allowing the queer love to be shown in the end (see: adventure time, she-ra, and voltron) or by straight up canceling the show itself (see: the owl house, warrior nun, i am not okay with this, sense8, and first kill).

now let’s get into the actual discussion of farcille. more often than not, shipping arises more from seeing the buildup of a couple rather than when they actually get into a relationship. and this goes for any ship, not just queer ones. but you’re not questioning me on shipping farcille, you’re questioning that i called them sapphic representation without them actually being canon (and therefore they can’t be considered representation).

however, i wholeheartedly think that farcille cannot be read as anything other than romantic, and i genuinely believe that (MANGA SPOILERS) they’d pursue a relationship post-canon, now that falin is un-chimera’d and marcille has a less anxious attachment style to the people she loves. dungeon meshi doesn’t focus on romance whatsoever, and there honestly wouldn’t be any time to show romance anyway because neither character was in a position to be ready for one, so the only appropriate moment would be post-canon.

and that’s where the importance of subtext comes in. ryoko kui’s storytelling relies heavily on her audience’s media literacy skills. though laios is never explicitly stated as autistic, his character is written in such an exquisite way, that any viewer could easily guess what she was trying to represent there. i would 100% consider him to be autistic representation, even without him saying it in-text. now why shouldn’t i be allowed to extend that same logic to farcille being sapphic representation? all the tell-tale queercoding signs are there, just like all the tell-tale autistic-coding is present in laios. i don’t need the two girls to kiss to be aware of how utterly devoted and in love they are with each other.