#I just enjoy expressing myself

[vitslittleblog]

Manga review: Nana Vol. 1

Hello guys, I’m humbly here to share my impressions about the Nana manga.

For context, this is my first time reading it as an adult. I read the first volume when I was a teenager (I bought it second-hand) which led me to watch, or at least try to watch, the anime… That didn’t go well. I only made it through 6 or 7 episodes.

And please don’t think I stopped because I didn’t like it. That’s not the case at all. The truth is, I just couldn’t handle the theme. Two young women trying to live on their own, dealing with leaving their homes and navigating complicated relationships? Oh no, I got triggered immediately.

But now, I feel ready to face it. So, let’s talk about Nana.

The first thing I want to address is how my perception of Hachi has changed. If, at one point, I thought she was just an annoying, stupid girl, now I recognize her as someone with a lot of layers that help to explain her behavior. And while I still think Osaki’s aesthetic fucking rules, I have to admit that my personality is so close to Hachi’s that it physically hurts. I even dislike her a little bit because of it. Maybe that’s why I wasn’t able to keep going with Nana when I was younger. Some things can only be faced when we’re ready.

And if you think I only misread Hachi because we’re so alike and I wasn’t ready for that kind of epiphany, I wish you were right… Imagine my surprise when I realized I also misread Ren. (This is a Vol. 1 review, please don’t spoil me if Ren turns out to be a total lame-ass after he moves to Tokyo.)

When I first read Vol. 1, I was convinced Ren was a heartless womanizing musician who left Nana without a second thought. Also, the scene where it’s revealed they don’t use condoms really got on my nerves as a teenager. I 100% labeled him a bad guy. Sorry Ren, I’ve re-evaluated my opinion!

Now, for me, it’s all about adulthood and its challenges (did I mention the epiphany earlier?). That condom scene is also the one where Ren gives Nana total freedom regarding her future. If my younger self thought this was a red flag, now I see it as a mature gesture. What I got from this scene is: matters like babies and family aren’t disregarded topics, but dreams and careers are vital. The maturity it takes to let go of the person you love so they can be free while you follow your own dreams… That’s immense. Little old me just couldn’t understand, but I’m starting to now.

Last but not least, Nana Osaki is obviously a very closed-off person in the first chapters, but her understanding of Ren’s situation made me think about her inner strength in following her own dreams. How easy would it have been for her to follow Ren to Tokyo and live a domestic life? Maybe Hachi would have done that. But not Osaki. Damn, girl, I admire you so much!

I hope you get a sense of how I’m seeing things now through the lens of maturity. But if you don’t agree with me that’s totally fair. It always amazes me how differently people can interpret the same story. I don’t think my younger self was wrong. I just think I wasn’t ready.

[hinamie]

to moving forward

[conjuring-ghouls]

There was no need for him to look this good. (video by ghuleh.on.a.cross on ig)

[tapakah0]

Hello here, sweet Eheghemh,mhmmmm I do good ehwhehe

[hakusins]

thank you to @propertyofwhitney67 (madrian) for the ko-fi!!

[dustykneed]

--Really, Doctor?

[satans-knitwear]

The amount of untattooed skin I have saddens me sometimes 🖌️💉🎨

Treat me ~ Tip Me ~ More of me

[sysig]

Growing closer than expected (Patreon)

[lunarharp]

pretty & cute witch men

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[tapestryundone]

deeply emotional thinking about lesbian long quiet. he is a lesbian he is a lesbian he

[robin-with-a-pen]

Okay I’m having ideas I need someone to stop me-

Anyways, so we all know that Chilchuck probably doesn’t have the healthiest relationship with food? Right?

I don’t think he has an eating disorder but more so disordered eating- that hellish middle space, right? I mean “maintaining his body weight at an acceptable level” really sticks out to me

So picture this- my man retires, he doesn’t need to control his weight anymore, no worry about setting off or anything, but he realizes that the unhealthy habits he’s developed over he past ten years are harder to break than he thought

[barblaz-arts]

Vega saying this is not the time for your passionate declarations of love to wednesday makes me wonder what all she has witnessed and if wednesday and enid really did become as bad as gomez and morticia

No, not really.

Other people's interpretation that Wednesday becomes as physically intimate as her parents are great and I enjoy seeing them as the viewer/reader, but I personally dont like to characterize Wednesday all too similarly to Gomez or Morticia when it comes to love. It always comes down to what Wednesday would do for me, and for me Wednesday wouldn't be shamelessly making out with Enid in public like Gorticia do 💀

And what with how insufferable it made Wednesday feel and how similar Vega is to herself, Wednesday doesn't let the physical stuff get too heavy when Vega's there to see it either. They kiss of course and all that jazz, but nothing less than wholesome if they can help it. Stuff like that are reserved for when there's no one else to see.

What Wednesday does not hold back on, however, is her words. My characterization of canon(or close to canon) age Wednesday is that she's an absolute tsundere, but as the years pass and Wednesday comes to accept that she's actually capable of love and desires to be good at loving, she no longer, ahem, poisoncoats her words. She will express her love for Enid when the need or feeling arises and, as a writer, she has many words in her arsenal for it. She will not be misunderstood, and her love for Enid would never be something she wants doubted by anyone.

[bonefall]

post/734733274896809984/do-you-ever-worry-your-own-writing-might-come-off that makes sense. i was asking because i'm afraid of accidentally writing misogyny myself and i kind of admire what you do

Hmm... I wish I had better advice to give you on this front, but honestly, the only thing I can tell you is to consider the perspective of your female characters.

Women are people. They have thoughts and feelings of their own, so like... just let them have their own arcs. A lot of the worst misogyny in WC comes from the way that the writers just don't care about their girls (or, in the case of tall shadow, actually get undermined and forced to rewrite entire chapters), so they're not curious about their lives, or WHY they feel the way they do or what they want, or any direction for their character arcs.

Turtle Tail as an example. She'll often just end up feeling whatever Gray Wing's plot demands. She's gotta leave when Storm dumps him to make him feel lonely. She shows up again to love him in the next book. Lets her best friend Bumble get dragged back to Tom the Wifebeater, but is sad enough about her death to be "unreasonably angry" with Clear Sky, and then calms down and accept Gray Wing is right all along.

And then she dies, so he can have his very own fridge wife.

In this way, Turtle Tail's just being used to tell Gray Wing's story. They're not interested in why she would turn on Bumble, or god forbid any lingering negative feelings for how she didn't help her, or even resentment towards Clear Sky for killing her or Gray Wing for jumping to his defense. She isn't really going through her own character arc.

She does have personality traits of her own, don't misunderstand my criticism, but as a character she revolves around Gray Wing.

So, zoom out every now and then, and just ask yourself; "Whose story is being told by what I wrote? Do my female characters have goals, wants, and agency, or are they just supporting men? How do their choices impact the narrative?"

But that's already kinda assuming that you already have characters like Turtle Tail who DO have personalities and potential of their own. Here's some super simple and practical advice that helped me;

Tally the genders in your cast. How many are boys, how many are girls, how many are others?

And take stock of how many of those characters are just in the supporting cast, and compare that to the amount you have in the main cast.

If you have a significant imbalance, ESPECIALLY in the main cast, fire the Woman Beam.

It's a really simple trick to just write a male character, and then change its gender while keeping it the same. I promise women are really not fundamentally different from men lmao. You can consider how your in-universe gender roles affect them later, if you'd like, but when you're just starting to wean yourself off a "boy bias" this trick works like a charm.

Also you're not allowed to change the body type of any girl you Woman Beam because I said so. PLEASE allow your girls to have muscles, or be fat, or be old, or have lots of scars. Do NOT do what a cowardly Triple A studio does, where the women all have the same cute or sexy face and curvy body while they're standing next to dwarves, robots, and a gorilla.

Or this shit,

If you do this I will GET you. If you're ever possessed by the dark urge, you will see my face appear in the clouds like Mufasa himself to guide you away from the path of evil.

Anyway, you get better at just making characters girls to begin with as time goes on and you practice it. It's really not as big of a deal as your brain might think it is.

Take a legitimate interest in female characters and try not to disproportionately hit them with parental/romance plots as opposed to the male cast, and you'll be fine. Don't think of them as "SPECIAL WOMEN CHARACTERS" just make a character and then let her be a girl, occasionally checking your tally and doing some critical thinking about their use in the story.

(Also remember I'm not a professional or anything, I'm just trying to give advice)

[meshimellow]

the question is will i ever make anything worthwhile of my own? do i have a story to tell.. i dont actually care about that much right now cause i really do enjoy making derivative artwork that doesnt mean much in the grand scheme

[triglycercule]

all i have been able to think about today is that silly little knife game where you stab the spots between your fingers and try not to hurt yourself and how that silly little game is SO horrorkiller. i cant explain it it bothers me so much that i cant explain it but it just does its so them

they play it when theyre bored. because when in doubt bodily mutilation and the risk of hurt and pain is always an appealing one. and when i mean they i just mean killer because horror wouldn't wanna just hurt himself on the fly like that for funsies. he likes to see others hurt because hahaha FINALLY some damn entertainment!!! but hurting himself???? nononnno hes already got enough body pain as it is oh and killer has already grabbed his hand and started playing (and now horror can't back out because killer's got him sucked in the game)

they sing the silly little song. horror has all his fingers the knife goes chop chop chop if killer misses the spaces in between horror's fingers will come off! and they are both enraptured and both captured in this childishly morbid game. it's so anticipatory because they both know its all up to killer to decide if horror gets hurt. hes more than precise enough to keep the game going for hours long without ever hitting horror but would he want to keep it going for that long? horror doesn't know how long killer would want to wait before getting to see him react to getting hurt

and killer does eventually do it even after theyre sung the song over and over countless times and tried different harmonies and finally killer decides to end this little song and dance and stab into horror's hand. maybe he decides to do a finger. maybe the palm if he really wants to piss horror up. its sudden its surprising and GODDAMN is it painful!!!! horror's trying not to show it but with all the sweat and the way his fingers are twitching killer can see that it hurts him. it's a bit amusing :3

and then horror grabs the knife from killer and they do it all over again but this time horror's the one doing the stabbing. he's not as precise as killer. he hits him a lot more than killer hit him but goddamn it he is in PAIN and wants to let it out because hes annoying and irritated and goddamnit would killer just stop looking at him with that blank smile while he's bleeding out from his hand???? yeah horror's pissy

horror's annoyed and trying to get some form of petty revenge on killer (he likes it when he finally manages to get that stupid smile to falter just a little bit) and killer's watching horror desperately try not to just stab the knife through his oh so very exposed soul that he could very easily hurt if he really wanted to hurt killer. anyways the game finally ends when either one or both of them get bored! but thats fine!!! killer will get bored again and horror will end up escalating it to a messier point than it was before and the only thing that'll get hurt is the surface that they use to stab between fingers. oh and eachother of course :p