#anthy likes picking out animal themed ones

[transmascutena]

i have this headcanon that after their reunion, utena and anthy spend a lot of time travelling together, going back to all the places anthy went to alone while searching for utena (and new places as well, of course). and because of the little tidbit in the manga about how utena likes collecting teacups, i also think they have a tradition of buying one as a souvenir everywhere they go. every cabinet in their kitchen ends up being filled with tea cups from all over the world in all kinds of shapes and colors and patterns

[olderthannetfic]

The “noncanonical pairings are usually wish fulfillment” thing is so bonkers because there’s so much variety in terms of what is “non canon.” By the strictest definitions of canon, something like Anthy/Utena isn’t “canon” in the original anime series because they never explicitly say they’re romantic lesbian lovers or kiss (except in the ending theme, which people often don’t count), even though the entire fucking show is about that relationship and it makes significantly less sense if you interpret them in a platonic way. Same with something like Yuuri and Victor in Yuri on Ice. Most people would call those “canon” (I would with both) but I’ve seen people fight over it because it’s not “explicit enough.” A lot of people who are used to really didactic storytelling — which, lbh, is clearly a lot of people in fandom spaces based on the discourse that gets started here — don’t really know what to make of works like Revolutionary Girl Utena that rely a lot on symbolism and allusion, and in expecting their audience to do the work to meet them where they are rather than getting down to where the dumbest possible viewer is.

Then, on the next level, you get relationships that were built up to in some way, but then the writers later decided to take it another direction. You get ones that got a lot of subtext, but they were a same-sex relationship or an interracial relationship or something else taboo in a time before that was permissible in mainstream media of that kind. You get ones where it was the actors interpreting it that way, but not the writers; or the writers, but not the directors; or the directors and script, but the actor didn’t play it that way. (A good example of both of the last two examples: Garak/Bashir from Star Trek Deep Space Nine, whose actors have both admitted to playing them that way and supporting the ship, and where the creators have basically said they saw that there was something there but knew they wouldn’t be able to get away with that on a Star Trek show then.)

On the next level down, you might get something where it fits into a well-established romantic trope but the creator somehow has no idea of but the fans pick up on it — for instance, maybe they would only see it as romantic if it were between a man and a woman, but this is two women, and they don’t recognize how it’s going to look different to someone who is less heteronormative in their thinking. Maybe the creator just has such a strong bias against some particular combo of characters that they don’t want to acknowledge what they wrote by accident. (Like how J.K. Rowling was so mad that so many of her readers liked Draco Malfoy even though it’s pretty obvious to anyone else what’s so appealing about how she wrote that character, but for relationships rather than individual characters.)

And then of course, you do get some ships that are just completely out of left field, someone projecting a particular dynamic really hard that they wish was there on some characters that don’t have that kind of chemistry at all to anyone else watching/reading/etc. One of my fandoms had a really vocal group get really into a ship like that recently (because the person who started it framed it as “progressive” and herself as a bit of a BNF so a lot of younger discourse-addled people went along with it who also thought the more popular main ship was “problematic”) and it was annoying because they were so self-aggrandizing about how there was all this hidden subtext that no one but them was seeing because we were all less social justice enlightened than them or something. When it was really just that those characters didn’t have that dynamic at all, but they THOUGHT they should. There was a lot of hilarious misinterpretation of scenes that were in context, not remotely shippy, but one character was touching the other one very slightly or something.

But IME, those kinds of ships getting any kind of substantial following is rare. Most fairly popular ships that are non-canon, including pretty much every non-canon juggernaut ship I’ve ever seen (going back to DS9, Garashir is like 45% of the DS9 fanfic on AO3 last time I checked, so it’s definitely a juggernaut ship), there is at least SOMETHING there that comes from the original work. Even if it’s just “these two guys have the kind of buddy-cop dynamic that slash shippers often like to envision in romantic ways,” “this guy and this girl are the kind of lifelong childhood friends that we’re used to being romantic in anime like this so a lot of people started shipping them immediately,” “these two girls have the kind of Fuffy/Catradora/etc. friends-to-enemies-to-friends-again-to-lovers dynamic that makes a lot of femslashers lose their minds,” etc. Even with those three examples, while it may not be *intentional* on the part of the creator, it’s bizarre to say those people are “projecting” when they’re responding to those couples fitting into longstanding media trends that a lot of people identify. “Projection” to me is something like the earlier example I gave of the obnoxious people in my one fandom, where they are just determined to make some square peg fit a round hole because they’re desperate to have everything be round. And again, I don’t think that’s nearly as common as a lot of people, and especially salty het shippers who want to demonize the popularity of M/M or F/F in their fandoms, seem to think it is. (Also, like het-only shippers aren’t the ultimate in seeing romantic dynamics with every time a man and a woman are close at all, and throwing a fit when it doesn’t happen in canon, lol)

(I also think some of these people confuse the “projection” for people who are more dedicated rarepair shippers, where the motivation is often more “okay this might not be here but WHAT IF” than sincerely thinking the work is actually doing something that it isn’t really doing. Again, I’ve met people who are into rarepairs who just seem to have a really bad lack of understanding for what “subtext” is and confusing anything they wish was there with “subtext,” but I think those people are a rarity. For a lot of people who like rarepairs, the fact that it’s not at all what canon is suggesting is something they are aware of and that is The Point. It’s “I know the work doesn’t actually suggest this, but how can I change it so that it does”)

--

In my experience, that particular flavor of oldschool homophobe invariably ships tons of het that is not actually canon.

They just don't like it when 1. anything that's not their favorite gets popular and 2. people think a character could be queer without it being literally stated in the first episode/page.

[lobstermatriarch]

10 Character/10 Fandoms/10 Tags

Maybe minus the tags. Tagged by the lovely @anosrepasi <3

Astarion Ancunin, Baldur's Gate 3: Is this a fucking surprise at this point? I have spent real life time staring at my office walls being haunted by this man. He's charming. He's repulsive. He's vicious and self serving and ancient and immature and so desperate to be safe after centuries of living on adrenaline that he will do anything to get you on his side. He's a meta exercise in manipulation, marketed as a hedonistic sex symbol to project fantasies on, then coming out with this nuanced presentation of cptsd/sexual trauma that makes you genuinely uncomfortable with your initial judgements of him. He's the poster child for imperfect survivors still being deserving of kindness, and for the difference kindness can make in breaking or continuing the cycle of abuse. He contains multitudes. I don't think the disk horse was ever avoidable with a character like him.

Anthy Himemiya, Revolutionary Girl Utena: speaking of exercises in projection!!!! Maybe I have a type, or a theme, or something. She's the receptacle for everyone else's hopes for her and ideas of what she could be, an actual object to be traded as a prize. She's a princess, she's a damsel, she's a witch, she's whatever you need her to be. Does anyone know what she is beyond that, herself included? There's been so much amazing analysis on Anthy over the years that I'm not sure I have anything important to add at this point.

Tidus, Final Fantasy X: Early blorbo! Maybe even the first blorbo, though Sailor Saturn might offer competition. I was eleven when I finished this game and proceeded to lose my mind over pretty much every single character at one point or another. I picked Tidus for being the main but I think I do love him the most, too-- there's something about the privileged hero learning how to be self-sacrificial that I think was kind of formative for me. Plus he's a big dweeb and his laugh scene still makes me giggle.

Will Graham, NBC Hannibal: accepting the monstrous side of you, cannibalism as a metaphor for love, sweaty, gruesome, and nonsensical dream sequences, empathy disorders as a psychic superpower, etc etc etc. I could not ask for anything more out of a guy.

Nona, The Locked Tomb: So Nona is my favorite of the books so far, and it's in large part thanks to Nona's point of view. Her focus on what's going on with the kids while the rest of the narrative is in this horrible war zone was really poignant for me? People die, life goes on, kids grow up thinking everything they see is normal. I've taken a lot of writing influence from her narration lately. Granted I (like so many of us) have a soft spot for unhinged women, so trying to pick just one character from The Locked Tomb was SO hard.

Nell Crain, The Haunting of Hill House: If only people cared about her half as much while she was alive as they did after she died! Also, being haunted by her own inevitable tragedy while still managing to find something beautiful and worthwhile in the end.

Jade Harley, Homestuck: by and large I pretend not to associate myself with Homestuck anymore, but it did get me back into fandom after a pretty long time away and Jade still holds a soft spot in my heart. Little feral garden child.

Akane Kurashiki, Zero Escape Series: taking the single most insufferable anime trope (to me at least) and turning it on it's head. The extent of her manipulation by the end of 999 still gives me chills, even though I know the ending, and despite it all she never stops being sympathetic. I love her so much.

Midna, Zelda: Twilight Princess: I named my kitty after her so she's gotta be on the list. She is now 17 and arthritic and still has a lot to say. I'm sure she's criticizing my adventuring skills and/or teaching me how to jump like a wolf.

Cole, Dragon Age Inquisition: I named my other kitty after him so he also has to be on the list. He knocked his cat tree into my partner's coffee table last month and now we need a new one.

Not tagging anyone because tagging stresses me out a bit, but if you would like to do this I would LOVE to see top tens of the moment!

[amplexadversary]

More Utena, episode 25,

I've been informed ahead of time about the Chuchu theory, and while I didn't feel like I could confidently interpret a lot of the stuff that he's done so far (well, there's been a few), Anthy metaphorically vacuuming down her heart as soon as Wakaba shows up, and then internally having the reaction we see from Chuchu about Wakaba's insisting that they're close (because she wants to room with Anthy's hot brother) make a lot of sense.

Wait, most of the time Chuchu's shown eating. Is that Anthy swallowing her feelings?

---------------

Okay, some of the weirdness in the background of the council meeting scenes has been beyond me, but I think I've caught on to the baseball thing being a metaphor. The group gets a "strike" when Saionji expresses distrust in further letters (after apparently already having one - the expulsion? Being fooled by the fake one?)

This changes to an "out" when Miki claims to have verified the most recent letter. Miki gets a strike when saying he passed through the Rose Gate (not something he was supposed to do?), starts describing something he saw (Strike!) and when he mentions a gondola, "Strike! Batter out!"

And sounds of a crowd cheering when Miki says that it might be meant to take them to "a new stage"

Saionji doubts TEotW again, and another "out" is called, making three.

... I feel like that just outlined the plot of the coming episodes in some way.

-----------------------------

"A star [that Akio's named after] that cannot shine unless the sun sets" said as we see Anthy standing across from him and Utena, with her glasses shining? Somehow, I don't think that means good things for Anthy.

Wait but he says the star is at the sun's side. Is Anthy the "sun" in this analogy or Utena?

Also. Creep.

------------------------------------

Huh, I don't think we've seen Anthy with her hair down yet. And her and Utena's beds are arranged like the girls are in the opening.

That flashback of what appears to be Anthy's memory is a bit concerning.

----------------------------------------------

Okay I feel like there's a theme here, with all of these people taking off their shirts being like, a symbol of them being manipulative. (That's how Touga appeared when he was screwing around with Miki's sister, and these guys all seem pretty shady now, so...)

Akio is at least claiming to be Utena's "prince" as well.

---------------------------------------------------------

Really? Parking the car on the fucking lawn? Also it looks like Akio's got Saionji on board with something

--------------------------------------------------------------------

Okay the pre-duel sequence starts off in first-person now. What are we hiding? I have played motherfucking VLR I'm not going to be gotten by this again.

Also I'm concerned about what Anthy vanishing in this sequence implies for her.

Oh, she's just changing clothes via teleport... and now a rose bush is growing into her uniform.

Hm, okay. So the sword that Anthy brings to the fight vanished for some reason, but it looks like Anthy can pull a sword out of Utena now? Did she pick that up from the black rose swords? Now that we have reason to think she was made to roleplay "Mamiya" in that.

Well that's a homoerotic conclusion for the lads here at the end of this duel. More Touga and Akio unbuttoning their tops and lounging like the picture of an anime boy on a daki.

------------------------------------------------------------------------------

Okay based on warnings I've seen *that* ending scene was more what I expected to see in the previous 10 or so episodes. Not that I wasn't aware Akio was a villain here from the slamming shades.

[canmom]

Animation Night 92 - Revue Starlight

Hi friends! Welcome to another Animation Night! This week I got asked about anime, and @the-descolada​ asked me about Shōjo☆Kageki Revue Starlight (少女☆歌劇 レヴュースタァライト), the ambitious 2018 anime directed by Kunihiko Ikuhara’s protege Tomohiro Furukawa.

Which reminded me... I’ve yet to watch last year’s RevStar movie! Well, this week’s Animation Night seemed like the perfect moment to remedy that, and also introduce you to the giraffe that has sat in my brain ever since I saw the anime... if at least one of you starts saying wakarimasu in a solemn tone of voice, I will have succeeded.

To see Revue Starlight in context, you need to know about two things: Kunihiko Ikuhara, and the Takarazuka Revue.

Let’s start with the first! A full account of Ikuhara’s fascinating career will have to wait for the day that we make him the focus of an Animation Night, but let’s see if we can cover the main points. Ikuhara is one of those distinctive, idiosyncratic auteurs that anime produces so well.

So, our boy Ikuhara got his start as a director on later seasons of Sailor Moon, and something of the experience must have given him a sense of the possibility of expression in the vocabulary of a limited-animation TV show in the tradition of Dezaki, particularly the repetition of ‘bank’ shots like a henshin [transformation, for the non-weebs in the audience] sequence. WikiMoon describes his tenure as being characterised by...

His signatures seem to be an offbeat sense of humor, like in episode 31; a refusal to shy away from themes others might feel too "dark" for a children's show, as shown in episodes 46 and 110; and the use of a high number of frames per second for seemingly insignificant scenes, such as in episode 26 and the aforementioned episode 31.[1]

Following this, Ikuhara set out to make his defining work, Revolutionary Girl Utena (少女革命ウテナ Shōjo Kakumei Utena). On the surface, it’s a story about a group of students at a rather vaguely defined academy competing through duels to gain custody of a girl called Anthy, the “Rose Bride”, which will in turn grant the ‘power to revolutionise the world’ - a situation into which Utena, a girl obsessed with an image of being a heroic ‘Prince’ comes barrelling in, capturing Anthy almost immediately and spending the rest of the series fending off attackers. Each of these duellists is painfully trapped in a complex web of abusive relationships, and the episodes will introduce us to their stories to set up for the duel where they will be defeated by Utena and come to some kind of turning point in their arc. At around the midpoint of the show, Anthy’s rapist brother Akio enters the picture and things take an even darker turn. But it’s also packed with all sorts of weird goofy humour, like the episode where one character gradually transforms into a cow - it doesn’t stick and nobody mentions it again.

Utena, however, loves to convey this story very obliquely. It’s full of creative cinematography; plot developments will be conveyed by a Greek chorus of shadows on a wall, there are many repeated sequences with minor variations, important events will be conveyed with visual metaphors such as a car ride standing in for sexual assault. As such, its extremely devoted fandom have produced many books worth of intensive analysis, carried out by writers such as @empty-movement​ who are able to pick out the exact meaning of each colour difference in a framing rose. (The first time I watched it it went miles over my head because I was very stupid back then. Since I am now somewhat less stupid when it comes to film criticism, I am well overdue for a rewatch.)

Why so much about Utena? Well, it’s impossible not to see its influence in RevStar, because Utena takes a great deal of its imagery from the all-women musical theatre the Takarazuka Revue - but more on them in a bit!

Tomohiro Furukawa entered the picture on Ikuhara’s second major project, Mawaru Penguindrum, which obliquely took on the subject of the 1995 sarin gas attacks by the cult Aum Shinrikyo. It follows a group of effectively-orphaned kids whose parents were arrested as members of a similar cult who get drawn into the orbit of a supernatural entity - but as ever with Ikuhara, it’s full of things that can only be interpreted metaphorically, like the ‘child broiler’. This is where Ikuhara pioneered many of the elements that would become signatures of his later work, like presenting crowd scenes as extremely iconified, roadsign like figures, or the battle between the otters and the kappa (though only alluded to here).

Anyway, lest this become a full Ikuhara retrospective - and leave me nothing to write when I finally figure out how to cram an acceptably standalone selection of Ikuhara works into an Animation Night post! - let me bring in kVin to comment on Furukawa’s role in all this...

Who is that Furukawa fellow who’d get viewers so excited? If you had asked a few years ago, the answer would have been a fairly impressive action animator. Ever since Penguindrum, though, his name has carried more weight. Before that show, he’d never even drawn a storyboard, but Kunihiro Ikuhara sensed something in him. Furukawa ended up co-storyboarding the openings and up to 6 episodes in the second half, alongside some other rising stars like Shouko Nakamura, Mitsue Yamazaki, and Katsunori Shibata. All of them turned out to be exceptional creators in their own right (it’s time for my mandatory recommendation of Nakamura’s Doukyuusei), with identities of their own that are still very much influenced by their mentor; it lives on in Yamazaki’s framing and Nakamura’s thematic and design sense for example, even if the both of them have followed very different paths in the end.

─ Although Ikuhara’s style is of course not a miracle conjured from nothingness – it initially came down to his real-life theatrical inspirations plus endless Osamu Dezaki-isms filtered through Shigeyasu Yamauchi‘s lens and some Junichi Sato comedy – he’s always had this much of an inspiring effect on the youngsters who work under him. And, in modern times, no one has absorbed his precepts better than Furukawa, who’s actually become integral to Ikuhara’s working process. He assisted him on every one of his new projects, from minor stuff like his ending sequences on Kokoro Connect, BROTHERS CONFLICT, and NORN9, to acting as co-series director on Yurikuma Arashi.

So, Revue Starlight. This project came to life as many modern anime do as an original ‘multimedia project’ by entertainment company Bushiroad, opening with a stage musical and then the anime which would serve to promote more profitable media like manga and, inevitably, a gacha game. But this anime, handled by Kinema Citrus, was Furukawa’s chance to show what he had learned from Ikuhara.

So what’s it even about? RevStar is set in a performing arts school very similar to the one that trains performers for the Takarazuka Revue. The Takarazuka Revue is a venerable theatre troupe, founded in 1913 by a rich industrialist Ichizō Kobayashi. It is unusual for being entirely women, which - given that many of its major plays are romance works - means women playing male roles is a foundation to its whole design.

Kobayashi was a seriously conservative dude, and in his view, his Revue should train women to be traditional ‘good wives and mothers’ once they left the production, and the authorities of the system were strictly insistent that it was all for the stage and the Revue would tolerate no sort of lesbian funny business. As you can surely imagine, this did not stop the performers, or the fans (who are almost exclusively women) - Takarazuka quickly became understood as a lesbian symbol.

The performers of the revue are divided into two groups, the otokoyaku (男役) who play male roles and the musumeyaku (娘役) who play female roles. Students are trained in these roles from the second year onwards, from which point the otokoyaku cut their hair shorter and adopt masculine forms of speech. Further, within each of the five troupes in a given year, there is a top star - technically two, one otokoyaku, one musumeyaku, but the otokoyaku tends to be heavily prioritised and will be the one referred to the top star - who plays the main character in the performance, and tends to get the lion’s share of devotion and attention.

The Revue covers a great variety of theatre, but a lot of their works are Western, and they are particularly associated with their take on French noble costumes. It was also extensively influential on manga, with Osamu Tezuka growing up very near to Takarazuka. Here, we actually find a bit of a circular chain of influence: the revue influenced the wildly popular shōjo manga The Rose of Versailles, a story indirectly about the Japanese Left but set in the court of Versailles - and notably featuring the fictional Oscar, a woman raised as a boy who becomes captain of the Royal Guard. Takarazuka subsequently staged a number of adaptations of the manga, which became one of their most popular productions and cemented the both the otokoyaku/musumeyaku division and the ‘Top Star’ system in the 70s.

Here’s a poster from the 2013 production:

Naturally, there have been many times when Takarazuka performers have been in lesbian relationships, and sometimes settled down together after leaving the troupe - though this generally must be extremely clandestine since it is grounds for being fired from the Revue. In fact, the militaristic uniforms that became so iconic to the Revue’s image were originally an attempt to curb the rumours of lesbianism; performers were further forbidden from exchanging mail with their fans.

So, Revue Starlight. It is in large part a critique of the Takarazuka Revue - the Top Star system in particular. In addition to their daylight training for a first year production of a story called Starlight, which Emily Rand reads as a blend of The Rose of Versailles and Elizabeth, the girls compete regularly in secret duels on a hidden stage overseen by... a giraffe. The winner of this contest - the one who ‘shines brightest’ and is fit to be Top Star - we eventually learn will be granted the power to make a shine on whatever stage they desire - in effect a pretty open-ended wish. Everyone else? Well, it’s not clear at first... they all really want to be top star.

So, much like Utena, most episodes culminate in a duel, each character armed with a particular weapon. These duels are also occasion for each character to sing a duet, which forms the backdrop to their battle, as the stage contorts itself into symbolism for the relationships being contested. They’re spectacular, thanks in large part to the brilliant action animation of figures like Takushi Koide.

Unlike something like Utena, these hush-hush duels seem to be taking place in a much more mundane world - and though they keep fighting them, the girls also struggle to figure out why exactly there’s a talking giraffe.

Into this charged situation, enter Karen Aijo - who can’t see the logic of the Top Star system and doesn’t see why they can’t all shine on stage, and competes to this end. She’s joined by her childhood friend, Hikari, with whom she shared a promise (yep, it’s anime) to one day perform Starlight with her. And beyond that is a large cast of other ambitious young performers; outside of the duels, the show takes on a kind of tone of lightly comedic, slice of life school story, with enough drama to come out on the secret giraffe stage. (Oh and yeah they’re like... pretty much all gay. It’s fully yuri. How could it not be though really?)

I won’t spoil where it goes, since we’re about to watch it, but it’s a compelling, suitably high-drama arc with some really spectacular animation along the way - and the movie looks like it will be even more so. So, if you will, come and enjoy a delightful opening of what we may hopefully one day call the ‘Ikuhara school’ of symbolism-drenched lesbian anime.

Animation Night 92 will be starting shortly at our usual place - https://twitch.tv/canmom ! We’ll watch the original RevStar series followed by the movie. I’d love to power through it all in one go, but we might end up splitting like we did last week, because it’s not a short programme. Still, for however much we manage tonight, I hope you’ll come join~

[recentanimenews]

FEATURE: Revolutionary Girl Utena Is Too Much, That's Why It's Great

  Once upon a time, there was a girl named Utena who wanted to be a prince. At Ohtori Academy, she met another girl named Anthy, who is engaged to a cruel member of the student council. There is a secret ritual at Ohtori in which the student council duels each other for the right to possess her. Utena refuses to allow this to go on any longer and wins Anthy’s hand after school in an arena deep in the woods under the shadow of a fairy tale castle. With this decision, Utena stakes her claim to the nobility of the prince who inspired her. But what does it mean to be noble, anyway?

  So begins Revolutionary Girl Utena, an anime series assembled by former Sailor Moon staffers under the Be-Papas label. But Utena is far more than just that. It’s a festival of gorgeous imagery, teen melodrama, and operatic prog rock. It has a skewed sense of humor that encompasses surfing elephants and pooping monkeys, but is at times one of the scariest and most unnerving anime ever produced. The show’s staff list includes Academy Award-nominated directors like Mamoru Hosada, as well as anime luminaries like MUSHI-SHI’s Hiroshi Nagahama and art director Chieko Nakamura. It’s one of the best anime of the ‘90s and might be my all-time favorite depending on how I feel that day.

    Revolutionary Girl Utena is overflowing with stuff. There’s the classic moments that have spread through popular culture, like Utena doing a flip in the dueling arena or the Sword of Dios erupting from Anthy’s chest. Then there’s the symbolism: multi-colored roses, fine art, and weird goofy animals. There’s are countless references to other things: fans mention Demian and Twin Peaks as clear inspirations, but it wasn’t until recently that I realized the debt the show owes Keiko Takemiya’s seminal boys’ love comic Kaze to Ki no Uta (Song of the Wind and Trees). Series director Kunihiko Ikuhara has earned a reputation over the years as an uncompromising auteur, but in hindsight, I think his talent isn’t so much originality as it is his capacity as a remixer: taking different styles and motifs — for instance, Sailor Moon and avant-garde ‘70s Shuji Terayama plays — and combining them in unexpected ways. The result is a frightening Katamari ball of repurposed pop culture united under a singular visual aesthetic.

  The show’s breadth grants the creators the time and space to indulge in some truly weird ideas. One of the most iconic parts of the series are the shadow girl sequences, which appear like clockwork before an episode’s duel and are either a key for its themes or a joke at the viewer’s expense — or both. Then there are the Nanami episodes, which delight in finding new and hilarious ways to torture the show’s resident mean girl. An entire third of the show is devoted to the Black Rose Arc, which puts Utena and Anthy’s story on hold to flesh out the side cast and crank up the horror imagery. Despite its lack of relevance to the show’s “main plot,” the Black Rose Arc alone is a favorite of several folks I know and foreshadows all of Ikuhara’s later work.  I can’t imagine the show without it.

    Plenty of anime has since come along bearing Utena’s influence. Some of them were created by Utena staff members, like 2019’s Sarazanmai. Others are disciples of later Ikuhara-directed projects; for instance, Shouko Nakamura led a crew of Penguindrum alumni to create the charming film Classmates, while the visually stunning Revue Starlight anime franchise is led by Yuri Bear Storm director Tomohiro Furukawa and his team. Across the seas, Steven Universe bears Utena’s print. Even the massively popular phone game Fate/GO has some Utena DNA through its writers' shared interest in the series. Some of these works have managed to approach Utena’s substance, while others have equaled or even exceeded its style. Yet I’d say that none of these series have managed to fully encompass what Utena was at its best. Even my pick for the best of the lot, fellow Sailor Moon alumni Ikuko Itoh's marvelous Princess Tutu, lacks just a bit of Utena’s spice by comparison.

  Utena has plenty of style and substance, but I wouldn’t say either of those elements is the show’s true secret sauce. One potential answer is its cruelty. Utena allows its cast to be genuinely mean to each other in ways that contemporaries like Revue Starlight never allow. At the same time, the show tackles themes that child-friendly series like Steven Universe and Princess Tutu could or would not touch: rape, incest, abuse. That is not to say that Utena does so perfectly. While rewatching the series this year with friends, I found myself questioning exactly what the creators were trying to do with certain scenes (especially in the show’s final arc), or wondering if they were being too knowing or flippant with such loaded material. I wouldn’t begrudge people who find it to be too much for them, or prefer work that takes a less aggressive approach. Personally, though, I appreciate Utena’s willingness to delve into messy and conflicted feelings. I think the show’s heart is in the right place even if it can be mean to its audience.

    That said, rather than cruelty, I think the true answer is the show’s size. At 39 episodes, Revolutionary Girl Utena sprawls, replete with weird little cul de sacs and dead ends. These indulgences are inseparable from the show’s character. When I first watched the show as a teenager, I thought it was perfect. With the benefit of hindsight, I see that the series isn’t a pristine monument, but a tangled bird’s nest. Yet that’s exactly what makes the show as a whole so enduring. No other anime of its kind is as shocking, hilarious, dramatic or even boring for so much time. Utena is not any weaker for being overstuffed.  Utena is great because it is overstuffed.

  That great uncompromising size and density has drawn writers to the show over the years like moths to a flame. Enterprising readers looking for an episodic guide to the series might turn to Vrai Kaiser’s Consulting Analyst or Dee Hogan’s Utena Watch Party. Those seeking to understand Utena’s influence on Japanese anime at large should turn to the classic blog post Ikuhara School Directors & Utena's Legacy. If that still isn’t enough, the annals of the fansite Empty Movement will keep you busy until the End of the World. I believe that these writers are drawn to Utena not because it is intimidating or pretentious but for its generosity. It’s not so much that the answers to Utena are in doubt, as that there are so many answers you could continue to write about the series for years and still never cover them all. Like Revolutionary Girl Utena itself, their collective efforts are an act of love. As Be-Papas honored what they loved in their work, we honor them. Meanwhile, Utena endures: a gorgeous, funny, scary, frustrating, outrageous, weird, and always surprising masterpiece.

  Are you a Revolutionary Girl Utena fan? What is your favorite Nanami episode? Do you ever find yourself singing "Zettai Unmei Mokushiroku" while walking up staircases? Let us know in the comments!

      Adam W is a Features Writer at Crunchyroll. When he isn't rewatching the Utena movie every New Year's Eve, he sporadically contributes with a loose coalition of friends to a blog called Isn't it Electrifying? You can find him on Twitter at: @wendeego

  Do you love writing? Do you love anime? If you have an idea for a feature, pitch it to Crunchyroll Features!

By: Adam Wescott

[uozlulu]

Finished rewatching Utena and finally getting around to seeing the anime ending for the first time (how I managed to never finish it before, I have no idea). It was a lot to think about not only because I'm almost twenty years older than I was the first time I read the manga and have since figured out I'm not straight or cis, but also because I've seen Saranzanmai where there were a lot of similar thoughts, threads, and themes. One of the more surprising things about it was how true and relatable it still seemed like Juri being content for her crush to be happy rather than with her, for Utena to be more interested in Anthy than Dios when she met him, end up with a crush on Dios after the years pass, only to then realize it's Anthy she wants int the end. Though it's always been relatable for me since it begins with Utena striving to be a prince rather than a princess and there was always a part of me who was like that growing up.

I liked how there were a lot of metaphors going on for how confusing being a teenager can be and how people grow and change as they get older. Not sure we needed the incest element to get the point across, but again, like Saranzanmai there is an exploration of inappropriate relationships because adults and other teenagers trying to take advantage of you and/or your friends is definitely something you have to deal with, but again, the abusers do not win in the story.

I didn't pick up on it previously (probably because the farthest I ever got with the anime was Shouji's exit from the narrative), but the theme of coffins and confining oneself was an interesting theme. Sometimes it was literal like Utena wanting to die because her parents are dead or Anthy trapped until someone chooses her over the power of Dios. Sometimes it was metaphorical like Akio trapped chasing the power of Dios or the Student Council dueling each other. There were some characters who managed to free themselves from such confinement, especially Nanami who spends the entire anime on a quest to overcome herself as we all must do as teenagers. Ultimately it's Utena, Anthy, and Chuchu who free themselves from their confinement completely and leave Ohtori Academy, which is a coffin in many ways both literally and metaphorically.

Rewatching the anime makes me want to reread the manga sometime. I preferred the manga back in the day so I'm curious how I'll feel as a proper adult. I also should rewatch the movie too since it's been probably close to fifteen years since I saw it.

[whoslaurapalmer]

utena manga AND adolescence manga!!!! the longest of any of my utena posts why did i have so much to say. 

-i do have to say that the box set is amazing. i’ve never owned hardcover manga before!! and the art is really beautiful and i love all the color illustrations....... -also came with a poster!! but i, don’t particularly want naked utena and anthy on my wall. 

-i always love utena, so much  -“it’s not shocking pink, it’s rose! it’s a nice color. i picked it out, after all.” babygirl  (-omg the explanation that there is a list of stylists that she could get uniforms from and at least she picked one on the list) -poor kaido.......he’s the true Pre-Series Friend Who Shows Up In The First Episode And Is Never Heard From Again Once The Plot Kicks In 

-i like that the manga has an explanation of how utena found ohtori academy because, you do wonder -- but i also like how she’s just There in the anime, with absolutely no explanation of how she got There, she’s just There and maybe she’s always been there!, re: time, it ultimately doesn’t matter, it’s where she wound up regardless  -the.......floaty dreaminess of it......... -uggg wait especially because even though it has been akio manipulating her around all this time she still doesn’t truly go to ohtori because of akio she goes because of anthy 

-i’m. look i don’t even want to say it cause this is a straight-up terrible nickname and i am in pain over it but i have to say something  -mr -mr l  -mr  -licky -lick  -i have to wonder how other people have translated that 

-me: hey that looks like he licked the tears off her face??? utena: i named him --  the narrator living inside my brain: and at that moment lulu vandelay considered launching a book across the room for the first time in her twenty-six years of life

-you know utena if your aunt got transfered to amsterdam, you still would’ve wound up at an ohtori academy  -what even happens at the ohtori in amsterdam??????????????  -what  -do they do an exchange program?? do they ever get anyone back??? is amsterdam also creating a world?????? or are they fine over there??? -is it alt universe ohtori???? 

-chu-chu is so fluffy!!!! so soft.......big squish........huggable............ -anthy making him a tie because she felt bad about him not wearing anything!!!! 

-THE MANGA MOVES VERY FAST HONESTLY -especially because i hit a point where i too was reading as fast as possible to get through it but there was still SO MUCH 

-no nanami????? no nanami at all??????? except for that one picture of her???????  -no???????  -look. i really love nanami and i didn’t realize how much i really liked her until she wasn’t there :( cause i liked her in the first place but i miss all her antics :( and i liked where her character arc went a lot :(  -she’s very loud about this but she’s really just that tumblr post that’s like ‘i put ‘i love salsa’ in the chat and no one said anything and i wondered if salsa had killed a parent or if salsa ever really existed’ and that’s relatable  -and the second-guessing embarrassment of every single thing in your life and yet the commitment to radical high-and-mighty confidence about the same exact things to compensate??? good for her!!!! 

-utena, with the power of dios: i can see every move! me: wow didn’t know dios had the sharingan 

-INTRIGUED actually by touga having. a secret room with a big fucking calendar with zodiac symbols and all the fights predetermined  -like there’s something super interesting about that  -like...... -on one hand a physical representation of The Plot Being Controlled. The Plot Has A Map Now. on the other hand, touga has to write it all down like a nerd bc he’s not akio and has no sway himself over the narrative and he needs a reference 

-i’m absolutely fascinated by how a group of people can come together and create The Same Story that is so different in the manga and the anime.....  -just. how  -in a good way and a bad way. in the good way, how do you collaborate with people like that????? in the bad way, how do you create two completely separate thematic takes on the same story  -with so many of the same base scenes!!!! they go completely different ways!!!!! i’m!!!!!!!!!!!! 

-oh i do love the character profiles. i like knowing birthdays!! 

-akio grabbing utena because he thought she was anthy

-it fucking goes from. ‘everyone in this manga wants to fuck touga’ to ‘everyone in this manga will support utena, EVEN TOUGA?????’ like wow  -he’s just.........living with them..................................... -like a creep  -AND HE JUST GIVES UP THE STUDENT COUNCIL PRESIDENCY THAT’S THE FUNNIEST FUCKING THING  -doesn’t take much to get them to break the system down here but they’re still not breaking the system down here  -oh my god it’s like the sad lemon man movie speedrunning the first 3 books and hitting the plot notes with none of the substantial theme  -it’s just, i don’t think the manga is completely terrible, like i think there are some interesting moments but i also know the common perception is The Manga Is Terrible? so i’m like. do i pick out the interesting things and try and give them meaning? or do i just. wholesale agree that this is, on a whole other thematic plane and terrible  (-my whole life is ‘i should be able to make my own opinion on something!’ vs ‘but i like to read other people’s opinions to make sure i don’t miss anything but that should not replace my own capacity for critical thought which i am clearly capable of and did a great deal of work on as a lit major!!’) (oh this is anxiety.) (it’s a lot of ‘i don’t want to misinterpret this in any way because that is a failure on my part so i’m digging around for explanations’ oh that’s still anxiety.) 

-i mean. the emphasis on ‘friendship’ more than anything with anthy is, disappointing, but i DO also like utena trying to get anthy to make friends and that anthy’s first instinct is to take after wakaba because that’s super cute 

-chu-chu narrating the curry story!!  -he’s just such a sweet bean. 

-utena: akio? the devil, lucifer? me, reigning my brain back in as it shoots into hyperdrive: okay lulu you’re right about the tarot symbolism but now is not the time, bring it back, girl  (......utena’s the fool nemuro hall is the tower the car at the end of the movie is the world anthy stabbing utena is the ten of swords (not in the sense of betrayal but in the end of the cycle/story portrayed in the swords suit)) (ANYWAY) 

-and then touga still somehow stays at the center of the story and utena relies on him....... -there’s a bigger reliance on men in the manga that is not, challenged at all, re: touga and dios -but at least akio’s still a full-on creep  -actually i think he unsettled me just a smidge more which was a big accomplishment, considering the time i almost fell over furniture 

-me: oh my god are utena and anthy gonna switch places???  me: NOOOOOOO -anthy’s coffin breaking because utena puts the ring back on....... -but, like........dios is completely incapable of action as well and utena doesn’t need him to rescue anthy  -dios is more some ethereal grand thing here instead of an idealized past self that akio has lost access to and can never regain and was never truly good in the first place  -although utena and anthy switching is, interesting. reinforces akio making utena a princess when again she’s neither and it’s.......a little “in the end, girls are all like rose brides” and women are manipulated around by men, but also, kind of loses what anthy holding the swords meant in the first place? 

-touga: you have to do it, utena me: touga stop trying to steal the scene. get out. get out now 

-THE CASTLE IS REAL????????????????????????? 

-okay the absolute roller coaster between ‘he’s gonna kill dios????’ ‘that’s the manga backstory?????’ ‘DIOS IS JUST DEAD NOW????’ ‘NO HE WAS STILL DIOS THE WHOLE TIME!!!!!!’  -oh but you know you could read it as a, killing your past self sort of thing -...........although that doesn’t really vibe here, does it 

-i think them being specifically ‘gods’ takes away from just the, cycle of humanity kind of thing........ -it’s so pleasantly vague in the anime because how dios came to be Dios and why anthy had to put a stop to it just doesn’t matter. it’s not what matters. it’s not what’s important. the fact that it happened at all is what matters.  -and somehow he still wasn’t dios the whole time!!!!!  -“she kept his sword in her bosom, one last token of her love!” that’s an.........interesting way to put it -i mean, yeah maybe?? but also, no?????????????????????????????? 

-anthy’s kind of, watered down a little in the manga too, in a way?  -STABBING UTENA WAS SO IMPORTANT TOO 

-noooooo where are my girls learning that it’s not about being a prince and that it’s just genuine love and being there for someone  -i mean i guess the love is here but. “i must be the prince myself” no!!!! noooooooooo  -you know what i don’t even want to THINK about akio and utena..........like that 

-AND THERE’S STILL TOUGA!!! IN THE MIDDLE OF IT ALL!!!!!!!!!! TOUGAAAAAAAAAAAAAAAAAAAAAA  -anthy: /wearing utena’s uniform me: /staring into the camera like i’m on the office 

-like...............well that just continues the cycle then, doesn’t it, in a way  -which, is its own kind of story.............. -and i guess you could also make a case for ‘well no one’s immediately recovered right after a story that takes time and it’s not always perfect and that could involve anthy emulating utena’ -BUT NO!!!! NO??????? NO!!!!!!!!!!!!!!!!!!!!!!!!!!!!  -i think that’s giving the manga too much credit considering how much it forced ‘the prince’ at the end!!!!!!!!  -i get it. i get the ‘the manga is terrible.’ i see you.  -it wasn’t, completely terrible, but, wow. i get it. 

-okay hold on i still have two side stories before adolescence

-OH ARE YOU KIDDING ME????? ONCE AGAIN I HAVE TO DEAL WITH RUKA  -WAS IT NOT ENOUGH THAT I HAVE ALREADY SUFFERED  -ruka i still hate you. that’s all i have to say on that 

-and black rose arc condensed to thirty pages????  -the way mikage acts towards mamiya is like. blatantly creepy in the anime but i didn’t think it was here???? rude.  -anthy and utena holding hands after it, though....... 

-OKAY, adolescence  -i feel like, i was unduly harsh on the movie...... -mostly because i was reading the youtube comments on the dub before i watched and people were talking about how terrible the dub was (i did not watch the dub)  -and i knew about the car and i was just really thrown by the car. the cars. just. unexpected  -but if the manga speedruns in a bad way the movie speedruns in a way that not only hit the plot elements but picked up a lot of the thematic elements as well!!  -i mean every arc was touched upon in some way! even the black rose arc! -which haunts me, regularly.  -also i am forever going to be thinking about the fwwm parallel like damn  -it really was a good time....... -oh! this in particular was why i was a little concerned about missing anything in thinking about the manga   -like...is this a bad character choice in good writing, or is this a bad character choice in bad writing? sometimes i’m not always great at that 

-anyway.  -the manga was really mostly the same except somehow touga was more uncomfortable, there were no cars, and utena and touga had sex uggg  -god i SWEAR when i was flipping through last week i saw a car though. i swear???? i thought i did?????  -guess i didn’t!! 

-touga: as long as you keep me there in your heart, i can continue to exist like this. i can stay at this school for all eternity.  me: The Grief™ vs ohtori academy doing its thing vs I HATE THIS AAAAAAAAA 

-anthy, to akio: be gone! you’re only in my mind! me: oh that’s a powerful statement though. re: like, how akio keeps anthy 

-what i DID really really love was the little scene at the end with anthy and utena out of ohtori and older in a planetarium theater after everything and being cute on a date (with chu-chu!) and that that’s how it ends (even if utena was still thinking about touga) with them holding hands walking out............... -the softness!!!! 💖💖 

[cviperfan]

Okay so partially motivated by how many references there were in SPoP and largely bc it's been in my backlog for years and I remembered the whole thing got uploaded to youtube a while ago, I finally got around to watching Revolutionary Girl Utena for the first time so time for some hot takes

2 clarify I did see the movie about around 2000 which was my introduction to the series, and I did see like 1 episode back in anime club (over a decade ago now tbh) but for the most part I went into this with only a vague sense of the ending and offhand knowledge of a few of the weird comedy episodes so this was mostly a blind watch

Before getting into #spoilers I will say that this ended up being an easy Top 5 and that it's definitely still worth watching (fair warning for the very frequent rape and incest (and sometimes both)), especially if you've somehow also avoided most of the context of this show like me, and it really is one of the rare Nothing Else Like It kind of show (though it has roots in older shoujo like Rose of Versailles and modern stuff like Revue Starlight have picked up its lede)

Okay spoilers from here on

I really only kinda have vague memories of the more knightly take on Utena from the movie so Series!Utena having this powerful Dumb Jock Energy threw me

Like she's out here invoking the Air Bud Rule from minute one

This bit where Akio is going on about some Important Life Lesson thing and she's just fuckin

crab walking im

what a hero i love her

I have always kinda been more partial to shoujo than shounen bc the sense of like emotional urgency and the heightened exaggerated feelings are just more compelling to me narratively and what Utena does spectacularly is really drive that to fucking 11 and it permeates every aspect of the show

Like the melodrama of it all is so shameless and it's so committed to letting its visuals and music drive the mood and emotional intensity of its stakes that they kind of speak for themselves and demand to be taken on their own terms rather than having clear or rigid interpretations

Like it's kind of a situation of "yes most of what you're seeing ties into the show's bigger themes and characterization but also you can just vibe to the spectacle as well" like even when it's not on the Dueling Arena there's a theatricality underlying everything that pairs perfectly with the spirit of shoujo even as it... not necessarily contradicts it, but challenges it in some ways and also wants to coexist with it?

And I think that's the interesting thing how it wants to tackle some of these arch concepts tied into the genre while also being deeply intertwined with it.  Like it really is a Product Of Its Time in so many ways but it also feels somehow timeless and transgressive in others even now?

Like part of me would be interested to see a remake that took into account 23 years of conversation about how much perceptions of gender and sexuality have changed but at the same time would it lose some essential part of itself in that transition?  idk potentially

Also lbr a hypothetical remake wouldn't even attempt to revise anything it would just redo it thus making it pointless

So I know this has been a thing that's been brought up before but seeing it play out dang RGU and NGE really are just companion pieces to each other huh

Subverting the themes and narrative arcs of their respective genres, mysterious quiet girl who's directly the key to everything, the ritual of action setpieces rendered as Actual Ritual in the story, banger OP, comphet ruining everyone's lives

Also they really don't have much in common comparatively but I'm definitely seeing pieces of Utena in Kill la Kill too?  Particularly how Mako's arc feels like a fleshing out and expansion from the archetype divergence Wakaba got in that one ep (I can't believe klk was the utena/wakaba au fanfic)

Speaking of which damn he is a sleazy bastard and a gross predator but ngl Akio can Get It he and Ragyo are basically the same character and I guess this is just my type apparently???? oops

Like I'm recognizing how like really awful he is but also you really can't blame Utena for crushing on him he is super hot and charming

aside i lost it at the audacity of "well even tho i am a man like twice your age (AT LEAST) and took advantage of the situation and also i am clearly not the type to take no for an answer since you didn't reject me you're basically just as bad as me" bruh

The Black Rose Arc is... interesting bc like it borders on superfluous with how it resolves and yet the introduction of a "monster of the week" type power rangers element specifically built to expand on the secondary cast is a pretty inspired choice

again my primary point of introduction to the series was the movie which is basically a remix of the Student Council arc so when I got to 12 I was like wth are they gonna fill the rest of this with? WELP

What I really like about it is that usually this kind of setup-- the 'character is faced with their dark inner thoughts they shy away from and they become a short-term enemy' deal-- ends with the char in question coming to terms with this and overcoming it to become a better person

but here it's just like... they lose and then they just gotta... sit with that, forever.  Like it doesn't really change the status quo of their relationships w/ utena or the others but it does just stick around for them and now the audience knows that about them too.  like sometimes you just can't take that shit back.

Utena's relationship to queerness, having heard about it tangentially for years but seeing it play out now is also interesting bc while in the grand scheme it doesn't feel necessarily any more ahead of its time than something like Cardcaptor Sakura there is a casualness to it that's distinct

Like for the most part it's either kind of the tangential fluff that even then was part of shoujo as a standard but then there's also stuff like the Akio/Touga or Touga/Saionji hinting or Kozue's casual pass at Anthy in addition to the maintext Juri/Shiori push-pull and ofc the subtext-but-maintext Utena/Anthy threads

I wanna take a moment to talk about Juri bc of how kind of in the spirit of the show itself it plays things both with and against the grain with her

Like she's a Tragic Lesbian which is nothing new but usually this character type (and Distinctively Lesbian characters in general) in anime/manga tend to be portrayed as being very predatory, invasive and either played for laughs or to repulse the audience, so the degree of empathy RGU shows her in 97 is rare to see even now.  

Like there is a "safeness" to her bc of how unattainable Shiori is (though their arc ends in a decidedly ambiguious way), but it doesn't really feel like she's getting the short end of the stick over the more straight-leaning characters bc arguably all of the relationships here are defined by an aspect of chasing the unattainable, echoing Utena's own quixotic search for her Prince, and her choosing to remain closeted feels realistic *especially because* of the surrounding context of how heteronormative the world she exists in is.  Like the character is aware of that and is navigating it in a way that feels honest

Speaking of which it's interesting how the reveal of Juri's pining for Shiori in Ep 7 echoes the bigger reveal of Utena/Anthy bc of how it plays up this heterocentric love triangle or at least it seems to be but then the cards are on the table and no that's really not what it is at all, and it feels significant that after spending most of the series naively oblivious to Juri’s feelings and what she wants out of a relationship with Shiori that Utena finally Gets It in Ep 37

Is it a coincidence Juri actually gets to be the one to point it out? No

Speaking of triangles big ups to the Ruka/Juri/Shiori one honestly bc of how hard it commits to the unknown third result of a LT where absolutely no one comes out happy and it actually works even with the handicap of Ruka basically coming out of nowhere just for these two episodes

Like all three of them want the one person who's absolutely never gonna love them back and that's just rough buddy and isn't that kinda the show in a nutshell

So the thing that struck me about Utena/Anthy and how it plays out is how subtle it really is.  And that does make sense bc while f/f teasing/subtext again was part of shoujo before it's quite a different thing for the heroine to ultimately reject her 2 male love interests and choose a life with her female best friend, esp in nineteen ninety seven

Like I think you can argue that Ep 12 feels like The Moment where What Their Relationship Is, Definitely shifts and that possibility is suddenly there, and then it doesn't come back in a big way until the ending but there are tiny glimpses throughout where you can see that working in the background if you’re really paying attention

Small things like Anthy's flashes of unspoken jealousy, Utena fretting over her even when she's in bed with Akio, and part of that is coming from going in with a knowledge of what the endgame is and keeping an eye out for it.  I can hardly imagine being a viewer during the og broadcast and then ep 34 comes and suddenly the intent is made clear and our understanding of the inciting incident gets all flipped turned upside down

And to a modern viewer I can get coming into this for the first time and being frustrated at just how close to the chest it gets played, but that's also kind of the only way it gets to happen at that point in time?  But I think it ultimately is effective and vital to their individual arcs and dovetails nicely with the themes of the show

Like I remember hearing that original manga creator Chiho Saito was pretty against their paired ending, but with a lot of convincing from Ikuhara ultimately came around to it, and it's hard to imagine the anime's ending working any other way and being nearly as impactful

And there is something really beautiful about the bucking against the established idea of yuri relationships being a childish concept that gets left behind in order to 'grow up' actually becoming the impetus of their own journeys into adulthood and eventually back to each other, and it’s hard not to feel a little disappointed that for this Bold Step and declaration for the future that RGU takes that while yuri is more common than ever it largely continues to exist within the realm of schoolgirls and something to be left behind in adolescence like for RGU’s faults and shortcomings it saw this world of possibility in moving forward, while the genre largely elected to stand still

And it really speaks to either the timelessness of the show or how much the queer experience has remained constant that even with a tragic ending, that hope, or rather the promise of their reunion, feels bold and defiant and genuinely uplifting even now

Like the moment where just before they reach out to each other one final time, and their voices as children speak out to each other, as if finally fulfilling a promise they barely remember, I really did just start ugly crying

Lastly some assorted closing thoughts--

-Touga?  Punk.  Guy really takes advantage of Utena's whole prince thing to manipulate her, ends up losing to her in the rematch and then fucks off to mope for like AN ENTIRE SEASON then pops back up "oh yea im in love with her literally nothing else about my behavior has changed tho" like lmao you tried i guess

-Also i know Touga's design is p stock standard bishounen ojou-sama type but god this is all i can think about when I see him

- Green Touga Saionji is a bitch-ass motherfucker but like he at least tried more than anyone else so uh that's something I guess?????

Like the guy clearly has some unresolved feelings about Touga so i'm inclined to be sympathetic bc wow poor choice my dude but also... bitch-ass motherfucker

-Nanami really went through this thing for me where it's like... she's a brat and a shitty person but it's also hard to really dislike her bc she does get what she deserves most of the time and also she gets kinkshamed more than most of the cast despite none of them really having a high ground over her lol

-Miki did nothing wrong (aside from like the implied incest but that's also like... half the relationships in this show uh)

sidenote I can completely see the notable excess of Incest Subtext/Maintext being intended as like... A Thing to comment on how common it is within shoujo and also tying in to like the bigger themes of Growing Up bc the idea that you’re chasing after your own damn siblings betrays some freudian inability to mature or whatever but tbqh it doesn’t always feel like the show knows the line between commenting on this and indulging in it and RGU is very indulgent by its own nature so I really can’t blame people put off by the show as a whole bc this is an area where RGU is largely indistinguishable from its genre peers

-Juri really did nothing wrong tho also props for having the best duels

-FUCK SHIORI THO for eel 

so obviously i have not seen the show up to now but I've been in yuri circles for a long time so I knew about Juri/Shiori and my perception of it had always been "oh it's one of those kinda messy with complicated feelings" kinda ships where the drama is a big part of the appeal and that's true but like

the actual nature of it I did not realize up to now and OH SHIORI'S REALLY THAT BITCH HUH

So not only does she date that one anonymous guy specifically to spite Juri unaware she doesn't actually like him BUT THEN WHEN THEY GET REUNITED SHE'S JUST LIKE LOL IT DIDNT MATTER BUT HEY WE COOL RIGHT *AND THEN* when she finds out about Juri's feelings she's like HELL YEA I CAN HANG THIS OVER HER HEAD FOREVER FUCK HER

***AND THEN*** when she gets some karma after Ruka dumps her ass she airs her dirty laundry out in front of EVERYBODY like Juri hasn't been dealing with this shit like an absolute champ the whole time like?????

Like ok i get that there's the sad longing drama there and usually that's my jam and the show itself seems to end on kind of an ambiguous note and the follow-up manga from this year seems to leave it as kind of a "maybe" but I'm sorry get Juri a better GF 2020 she deserves better

I saw some Juri/Wakaba going through the tumblr tag for the show and honestly that's some big brain shit I'm here for it

Also now knowing exactly how this dynamic operates it really makes that Jasper/Lapis reference pic one of the SU crew drew of them read very.... interestingly???????? (tho Lapis' design reads a lot closer to Kozue and that's probably a closer personality analogue too)

-I love that thing in ep 37 where the whole SC is just very casually like hey utena if the whole revolutionizing the world thing with anthy doesn't work out uhhh call me im free haha just kidding unless...? lmao

-I'm pretty uninclined to try to pin precise sexuality HCs to characters for series this old where the ambiguity is part of how its danced around like partly coming from my own experience I'm inclined to read Utena as bi but that really is just coming from me?

But on the other hand literally every time a guy is like "i love you utena come be happy with me and we can love each other forever" she's like "k" after having left them on read for a day and disconnects from them entirely so lesbian going through comphet is a pretty valid read i think lol

-Lastly I think it’s pretty interesting but validly frustrating how fast and loose the show’s relationship with dream logic and non-traditional storytelling really is like when the shadow girls show up I was like ���oh this is a greek chorus thing and it’s meant to reflect on the themes of the episode” (or uh in the case of exactly Ep 29 to break from tradition and explicitly tell us what a characters deal is lmao) but then no actually turns out they’re actually real characters who exist within the show too fuck you

ANYWAY I really did love this show and felt like I got a lot out of it despite it being pretty infamously hard to decipher but the ways it's inscrutable appeal to me specifically so very happy with this I'm gonna be thinking about it for a while

[thefloatingstone]

Y'know what? Give us the long answer. Have fun with it. Go wild.

The full title of the show is “Revolutionary Girl Utena”. It has 39 episodes and was released in 1997. The series director, Kunihiko Ikuhara, previously worked on the anime version of Sailor Moon, and was the main force behind turning Sailor Uranus and Sailor Neptune from simple team partners into a romantic lesbian couple, turning Sailor Uranus from an androgynous person who changed gender at will into a masculine lesbian, and Sailor Neptune from a borderline “background character” into a character in her own right, motivated by her romance with Sailor Uranus.

Revolutionary Girl Utena was originally an idea to have a Sailor Uranus and Sailor Neptune spin-off show until somebody told Ikuhara that the story he wanted to tell wouldn’t make sense with those characters. Instead, he decided to make the Utena anime. The anime IS based on a manga which had not yet concluded at the time of the anime’s creation, but the anime deviates from its source material in the extremes.

SO! Revolutionary Girl Utena!!

I am going to answer “What is it about?” with 2 answers because both are true but just giving you the plot summary doesn’t actually tell you shit about what the show is….about.

Answer 1:

We open with what appears to be a fairy tale. Long ago, there was a young princess whose parents had recently died and she was very sad. One day, a beautiful prince smelling of roses came to her, and told her “Beautiful princess who holds up alone in such sadness, never lose that nobility even when you are grown”. He then gives her a ring with a rose crest on it and promises they’ll meet again. The fairy story ends with “That’s all well and good, but so impressed was she by him that she decided to become a prince too. But was that really such a good idea?”

The story follows 14 year old Tenjou Utena. She attends the prestigious Ohtori Academy with her best friend, the rather unremarkable Wakaba. (Basically think the “Magical Girl Trope” of Sailor Moon and her “best friend” character Naru. Utena is doing the trope on purpose). Utena says she enrolled in the school because it has the same rose crest as its symbol as the ring she has, which was given to her by “a prince” long ago, and she hopes to meet him again one day.

Utena is admired by practically every person in school, both girls AND boys. The boys admire her as a very talented athlete, specializing in basketball and playing on the boy’s team, and the girls admire her because she’s a girl who comes to school wearing the boys’ uniform (even though it doesn’t resemble any of the boys’ uniforms), refers to herself with the male “Boku” rather than the feminine “Watashi” and for her self confidence and energetic and positive personality, as well as her disregard for authority figures (like the teacher who confronts her for wearing “inappropriate” clothing, pointing out that the student rule book only says students have to wear the inform. Not that they have to wear the specific gendered uniform)

The story follows Utena, as she accidentally, while trying to defend her best friend Wakaba, getting involved in a “game” which involves the 4 members of the school’s student council, Juri, Saionji, Miki and the council president, Touga. The game involves a mysterious dueling arena in the middle of the forest which can only be accessed by people who have a rose crest ring, that looks exactly like Utena’s childhood ring. There, they duel in sword fights as an upside down figment of a castle looms over them. The winner of a duel becomes “engaged” to the female student, “Anthy Himemiya” who is called “The Rose Bride”. The Rose Bride gives her current fiance the power to use “The Sword of Dios” which she pulls from her chest, and the duelists believe that the one who is engaged to the rose bride can eventually enter the castle in the sky, wherein lies the power to revolutionise the world. Each member of the Student council believes this to be something completely different, each one of them thinking it will change their current situation in the real world into one they wish. One believes the castle contains the ability to create “True Friendship”, another “The ability to create miracles” another “A return to purity” etc etc.

Utena, who wins the duel in the first episode and ends up accidentally engaged to Anthy, has no interest in the castle or the rose bride or any of this dueling stuff. But she sees Anthy as a girl in distress, played around with and handed back and forth between people to use, and so Utena decides to, effectively, become Anthy’s “Prince Charming” to rescue the fair maiden in distress. Anthy is a very demure, introverted, and ultimately strange girl. She and Utena share a dorm together as is apparently Utena’s right as her “fiance”, and Utena starts building a friendship with Anthy, as well as learning what all these duels actually are, what is inside the castle, what IS the “power to revolutionise the world” and how she can save Anthy from this twisted game.

So…. that’s what the STORY of Utena is about…. but that has nothing to do with what Utena’s about…

Answer 2:

Utena is, at its core, about MANY strong themes, but to pick one out to talk about first, it’s about the human psyche. And I know that sounds like pretentious garbage but hear me out;

Utena is about how human  beings will trap themselves in their own destructive behaviours, constantly going round and round and round about something they can’t change in their life and their desire to change the OUTSIDE world to fulfill something that has gone wrong on the INSIDE of them. Every character believes the world to be a certain way, and what they believe the world is like means they can never achieve happiness or what they truly want, but none of the characters realise the ONLY way for them to be happy, TRULY happy, is in fact to let go of the desires and hang ups and psychological barriers that are keeping them trapped in unhappiness.

Utena is a 39 episode show talking in extensive detail “This is why you’re so fucked up”. And it pulls NO punches. Dealing with subjects like abuse, incest, rape, manipulation, sexual awakening, homosexuality, unrequited feelings, projecting your wants and desires onto other people, the list goes on.

The OTHER major theme of Utena is, and again I am not being pretentious here, this is what the show is about, the oppression of not only women, but of toxic beliefs surrounding what women’s roles in life “should” be, and how society as a whole uses this oppression and, frankly, abuse, to further people’s own desires and wants, and how society and those most toxic parts of it, try and break and bend women’s empowerment into something “more desirable” with complete disregard for how women in question actually FEEL about this supposed “place” they should be filling. It draws strong parallels between personal, one on one abuse, and a larger problem with women’s treatment of society as a whole.

And the OTHER other major theme of Utena, is sexuality as a whole. Not just Utena’s but literally every single character. The show is about sexual awakening (which is why the main characters are 14 but look older) and all the psychological hang-ups that comes with it, and how it shapes your opinion of the world and, in turn, how the world tries its best to shape YOU into something it WANTS you to be, rather than what you are. Female sexuality, Lesbian sexuality, Bisexuality, Sexual repulsion, Sex used as a weapon to control others, Sex as a metaphor for adulthood. Utena is an entire thesis on human sexuality, the form it takes in different individuals, the freedom it offers, as well as how predators use sexual attraction in terrible terrible ways to control others through manipulation, adoration, or domination.

The show is about trauma, both personal as well as on a societal level. it’s about abuse. It’s about what abuse turns people into. It’s about shutting off who you really are so tightly that NOBODY is able to pull it out. It’s about how being naive and “pure” is incredibly damaging, both to yourself and those you care about. It’s about confronting reality. It’s about confronting the adult world. It’s about breaking cycles. Both the ones we keep ourselves in which are self destructive, as well as the ones caused by abuse.

The OTHER thing Utena is about is “Speaking all of its plot, character motivations, themes, and story in metaphor so thick you need to be a psychology student to figure out half of this shit”

The first time I watched the show, I didn’t understand the ending AT ALL. And it took scouring the MANY essays written by people smarter than me on https://ohtori.nu/analysis/introduction.html for me to not only fully grasp what the ending was trying to say, but also literally 60% of the show which went completely over my head because I was 22 and a lot of the more adult themes was something I just didn’t pick up on, or fell into a complete trap with, thinking the same as the overly naive Utena, rather than understanding the reality of the situations and story.

My favourite scene to use as an example is in episode 5, where Miki runs into his twin sister Kozue in the school’s music room.

Miki had just finished telling Utena how he and his sister Kozue use to play the piano together, but something happened and Kozue refuses to play the piano with him any more. He and Kozue use to be very close in many ways, but these days Kozue has greatly distanced herself from him, and is very obviously slutting around the school, something Miki is disgusted in. It makes him want to distance himself from her all the more while also enraging him on a personal level. He has discovered, however, that Anthy (the Rose Bride) is very talented at playing the piano, and he hears in her playing something he feels he’s lost with his sister. Something calm and innocent which is no longer there between him and his twin. And he falls in love with Anthy.

He runs into Kozue as he goes to play the piano. He bumps into her unexpectedly. Her shirt is unbuttoned, her necktie undone, and she visibly adjusts her skirt. Inside the music room we see Touga, notorious school playboy, leaning idly against the windowsill, his own shirt unbuttoned.

Miki enters the room because he was intending to play the piano. Then THIS conversation happens;

This is one of the more obvious ones. But in case it wasn’t clear;

Neither of them are talking about playing the piano.

So take what I just told you about this situation… Read that info again…. THEN look at what they’re saying to each other… THEN look at how the show has chosen to place its camera angles.

Miki and his sister Kozue use to be very close, but have grown distant due to some event (which Miki says involves playing the piano. But that’s what Miki says). Miki yearns for when he and his sister use to be very close. a… “More innocent and pure” time… His sister has apparently completely embraced her sexuality, whereas Miki obviously sees her openly being slutty as extremely enraging and something he finds repulsive. He sees Anthy has in her the “purity and innocence” he lost with his sister. He falls in love with Anthy.

He runs into Kozue. She gives him…. THAT look. Up close and personal. When Miki speaks to her first, the camera ZOOMS back. Far away. a Great distance. Kozue asks him “Are you here to get me to play again?” She says, pointedly adjusting her skirt as she does so. She’s framed as towering over him. “I don’t have any more hope for you.” Miki dismisses her, as her presence looms over him.

They use to “play” together before they became distant. Kozue teases him about how he must miss playing with her. He scoffs. He’s no longer interested in her. They’re not talking about pianos.

Every single scene, exchange of dialogue, ever camera angle, every pose, every micro expression, every character’s body language, every bizarre visual or item that seems out of place in every shot… EVERYTHING in this show is a metaphor, or a hint, or a double meaning, or talking about something completely different than what they’re talking about.

Every second of this show is like this. If you wanna watch it… you’re gonna have to pay attention. Idly just letting it play while you take in the pretty visuals, and you’re not gonna understand one moment of what’s really being said, or shown.

And finally, everything that Utena is about, is in its intro’s lyrics. In fact the intro’s visuals all actually give away the entire story. But you know what? I can TELL you that because it is so heavy in symbolism and double meaning that even if I tell you that STRAIGHT OUT… you’re not gonna be able to understand what the hell it means until you reach the final episode.

Lets live with good grace and style.(just a long long time)Even if the two of us are ever torn apart…(let go of me)Take my revolution

In a sunlit schoolyard (garden), We took each other by the handDrawing close for comfort, we both swore:Never again would we ever fall in love.(Every time)

In that photograph of us, standing cheek-to-cheek,A touch of loneliness fills our smiling faces. (Revolution)

Even though we dream, even though we cry, even though we hurt ourselves, Reality keeps on approaching frantically,

I want to find my place, the worth of my existenceThe person I’ve been until nowAnd find the strength to throw it all away. Strip down to nothing at all.Become like rose petals blowing free

Even if the two of us are ever torn apartI swear to you, I will change the world.

[ladyloveandjustice]

Fifteen Favorite Anime Openings- Part 3, the End, you probably saw most of these coming

The $5 tier on my patreon allows people to nominate/vote on one post a month- about anything!  This is one of those posts. Go to my patreon here to learn more.

The full post/list for this available on Wordpress here.

Soul Eater Opening 1

This is such a great example of an opening that makes an effort to look cinematic and really gets its action to sync with the song. The severe camera angles and excellent pan shots, the black arrow motif running through everything so it even gives the picture a widescreen feel at times, the whole dark, halloween-y atmosphere- this opening starts off high energy and never lets up, and that’s what makes it memorable. Everything from the song to the animation style just works perfectly.

Cowboy Bebop Opening

3, 2, 1, Let’s Jam.You simply can’t do a list of amazing anime openings without including this one. The jazzy song, the bold colors and striking silhouettes, the pulpy noir style and atmosphere- as soon as you watch this, you know this is going to be a stylish anime with well crafted visuals and sense of pizzazz.

Sailor Moon Classic Opening 2

You knew it was coming. There’s a post going around Tumblr calling this particular OP “one of the most aesthetically pleasing things I’ve ever seen” and I really agree- this OP is pure eye-candy. I may love the S OP for being the only one with all the soldiers in it, but this one is definitely the best one visually, pure lavish shoujo prettiness everywhere.

 The ornate, pristine palace architecture, the energetic introduction of the inner senshi, the way the moon and space motifs are incorporated beautifully throughout- particularly notable shots are the super cool one where all the demons come toward Princess Serenity in a burst of action that syncs wonderfully with the song, then there’s a top-angle shot of her blasting them away in a moon shape- it’s a powerful and gorgeous moment. The bit where her foot touches down on the beautiful etched pool and her dress billows out in a white circle that fades into the moon is also just such an elegant image. An a-plus OP all around.

Fullmetal Alchemist Brotherhood Opening 1

Another one everyone saw coming. This is like, one of my favorite anime songs, it’s impressively fast-paced, totally rockin’ and the lyrics are meaningful and relevant to the show,: tragic, hopeful and determined. I think the visuals and animation do a good job keeping up with the super fast pace of the song, which is no mean feat, and pair with the lyrics well- for instance, Scar being shown during the “I don’t have a place to go home to” is downright heartwrenching. And as typical of Brotherhood, the animation is just great to look at.

I love ALL the FMAB openings, but this one is without a doubt my favorite, and though I’d find it really hard to choose a “top five ops” this would definitely be one of them.

Revolutionary Girl Utena Opening

Finishing off on another one that’s super predictable if you know me at all, and one that would definitely also be in my top five. The definition of iconic for me and my life. The song is one of my favorites ever (seriously, when my aunt was all like “pick your favorite songs for this weird family mix CD I had no idea what to pick so I was just like ‘well this one represents one of my favorite anime and is gay and will confuse her which will be funny so I’ll go with that”). IT IS MY MOTTO. THE ESSENCE OF WHO I AM, CLEARLY. LIVE YOUR LIFE HEROICALLY, LIVE IT WITH STYLE. BECOME LIKE A ROSE PETAL BLOWING FREE. REVOLUTION.

And there are visuals here so iconic you will see them refrenced in a bunch of other anime- namely the silhouettes spinning among the roses. That’s pretty unique for an OP. Not to mention its loaded with foreshadowing and ~symbolism~ for later events in the anime, in the most heartbreaking ways. AND it references stuff I really wish we COULD have seen, like Utena and Anthy in the armor which WAS something originally planned for the show. Still an epic design, even if we didn’t get to see it in the series proper- this is an op that is embedded into the very essence of the series, essentially. It’s not an advertisement for the anime, it’s part of the anime, it gives you clues in subtle ways rather than just spoiling, and lets you in on the themes of the show and missing pieces.

Also it’s gay.

That’s important.

So that’s the main list! These are a bunch of OPs I both love and think are objectively good and don’t have any major flaws on a technical level. I will be making another (Yes Another) slightly shorter list for OPs I really like but have to admit are not perfect on every level. But that’s for later

Also , some Honorable Mentions aka Mega Popular Anime OPs I DO think are good but not so much I don’t feel like they’re overplayed at times: Neon Genesis Evangelion OP, Cardcaptor Sakura OP 1, Attack on Titan OP 1 (Despite Everything, Still a Jam).

[justselfloathingthings-blog]

Me Ranting About a Bad Magical Girl Meme

So on discord an acquiatance-friend shared a magical girl meme about how “SJWs” ruined MG anime for the “West” that got me so angry that I need to rant about it here. 

Their friend (that showed to them) sadly couldn’t find an original version so here’s one with some rapid-fire responses for reference

I think that really most of the appearance ones are good and dealt with though I need to personally say “lolfuckyou” for “sexy girls and guys”. 

Let’s look at the others?

mostly apolitical beyond same ethnicity

The points in the response are accurate but we can go much further. If having one, broadly speaking (setting aside outliers like Anthy who don’t count I guess) ethnicity is perceived as a political statement (and I don’t disagree it is one essentially), what are we supposed to make of the messages like “have compassion for people even if they’re different?” that when possible, people should always strive for non-aggressive solutions and try to talk things out, even if in the end an aggressive solution is sometimes required? 

If the inclusion of a single ethnicity is a political statement, what should be made of the constant reminders by magical girl anime that gay people exist (more on this later) and that they are people with their own struggles and should be treated just as fairly as everyone else? 

Or themes and messages like that people shouldn’t be judged for superficial differences that really don’t matter, and that people should always strive for forgiveness, even for people that they have distaste for?

What about Utena’s portrayal of an unjust system that essentially perpetuates itself through the lack of desire of people at the top to tear it down and allows for people like the Student Council to have dominion over the rest of the school? Or how Utena’s story very, very frequently is used to deconstruct common shoujo tropes and expose their sexist undertrappings? Hey, remember that time in Huggto that Masato told Emiru that she shouldn’t play the guitar because it wasn’t “for girls” and Lulu is portrayed as justly taking Masato a-fucking-part? Surely no political implications there!

What should be made of episodic points like Miki utilizing Utena’s own critique of the dueling system removing Anthy’s autonomy for his own selfish ends, to the point of repeating it basically word for word? Or how about that scene in Sailor Moon that is basically devoted to softly criticizing Japanese academic culture? 

I can’t believe I’ve gone this long without noting that the blending of femininity and the masculine, in saying that one can be “girly” and still have the ability to save the day and defeat the villain (very very often without any sort of male aid), something soundblasted at the climax of Huggto that “anyone can be a Precure” is ridiculously political at its core?

(psst the SJWs are coming from inside the house) 

P.S. I love how Star Twinkle Precure managed to arguably make this out of date even at the time of its creation. 

generally leaves Yuri to the fandom

lol okay here have a couple canonical manga pages

oh and here’s an actual movie screenshot

(This is roughly an encapsulation of the entire scene btw I’m really not cherry-picking with this one)

Things the Ace Memester is also conveniently forgetting

1. That time in the manga that Chibiusa and Hotaru’s relationship is directly paralleled by Usagi herself to her and Mamoru’s?

2. How Saki and Mai, and Itsuki and Tsubomi, and Setsuna and Love, and Kanade and Hibiki and Lulu and Emiru (excusing the two examples I already gave) are so super clearly supposed to be love interests that it’s borderline text? And on the male end you have the super obvious basically transparent subtext in the Sailor Moon R movie. You also have to deal with Seiya’s super clear interest in Usagi and Usagi’s interest in... basically everyone. 

3. How about the time Regina used the nearly explicitly romantic Japanese word for love in reference to Mana in Doki Doki Precure? Or that time in the manga Rikka explicitly imagined Makoto and Mana getting married? Or that other time in the anime where Rikka talked about how life would be actually genuinely meaningless if she didn’t have Mana in it? How that’s an actual thing she really says?

4. If i’m allowed to include adult-oriented MG anime, how about how Togo from Yuki Yuna is explicitly stated in the extended materials to have a crush on Yuna (as if the show isn’t obvious enough about it)? Or how Nanoha and Fate live together and adopt a kid? Or Homura and Madoka and the subtext Kyouko and Sayaka have going on? Or the canon lesbians in Magical Girl Raising Project that get killed off to show how gritty the show is, but certainly exist? I’e gone this long without even mentioning Utena and Anthy or Shiori and Juri. 

Like “generally” is doing so much heavy-lifting that the poor soul collapses due to the weights simply being far too heavy to be held up with any sort of intellectual honesty. 

“better art and animation”

If you only watch the super-streamlined and high-budget shows, maybe?[1] But like, I am old enough and have enough residual memory to recall how Crystal got lambasted in its first season for its low-grade animation quality, ignoring the often wonky animation in the original franchise.

Like, if you don’t see the poor animation in MG anime, it’s often because of all the short-cuts animators really clearly take to disguise it, typically pouring pretty much all their budget into the important scenes that people really do need to remember. Sorry, I don’t make the rules.

“Original ideas and no parodies” 

1. Hey, remember how much inspiration Naoko got from the tokusatsu shows she loved for Sailor Moon? And how things like the team dynamics and color scheme of shows like Precure are so obviously cribbed from the team dynamic in Sailor Moon? 

2. Hey, remember how Futari wa (even though this one does die), Splash Star, Fresh, Suite, Doki Doki (arguably), Princess, and Huggto have eerily similar redemption arcs for one (or more in Splash Star’s case) of their villains? 

3. Hey, remember how basically every season of Precure has a “the Cures are going to break up!?!” episode?

4. Or how plot elements of Princess Precure (like the Haruka-Kanata dynamic) are really clearly inspired by Utena? 

5. Or do you want to talk about how Nanoha was pretty clearly inspired by Cardcaptor Sakura at points? Or how adult-oriented MG anime quite often cribbed from Madoka tonally, thematically, and even in terms of character/plot beats? (MG Raising Project is often the most blatant about this.) 

6. If we’re talking about “parody”, see above vis a vis Utena and shoujo tropes. 

Like oh my god there’s so many examples that I’ve forgotten some as I’ve tried to write this up.

In sum, can reactionaries who want to co-opt MG anime please get out of this fandom? They’re really not wanted. 

1. Though I recall all the nitpicking that Madoka’s animation got back in its time. 

[docholligay]

Before anything else: No one tell me what this says in Japanese, just let me have my day in court. 

I never noticed that there is a pair of scales on this title card thing, because I, like most people, was looking at whatever the fuck is going on with Anthy and Utena, which, as I’ve detailed in a post before that made me sound not at all like a fucking crazy person, is that Anthy is giving the rose to Utena, implicating her as the prince or deeply involved with the prince, and part of creating all these duels, which seems more and more obvious as the show goes on, but at the time was a little unhinged. 

ANYWAY, I looked closer at the scales here and it looks like a planet is on one side and some sort of bottle is on the other. So let’s ignore the fact that it’s probably a Japanese logo for like, the colorists’ company or some shit. It’s a scale, in equal balance. The planet could signify Akio, who is fucking obsessed with the planetarium, and I think I’ve talked about this before, but also*. And so what does that make the bottle? Idk man, fucking POISON? I’m trying to think of what could signify Anthy, but maybe it doesn’t at all. It’s always a mistake to go into a text trying to get a certain read out of it. Maybe it’s nature in opposition to science and reason, although I gotta say I’m not really picking that up as a theme here in this anime. Maybe it’s the way Utena makes me want to drink. 

IN REALITY I KNOW IT’S JUST A LOGO BUT IT MADE ME PAUSE OKAY

*But also, it’s really interesting to me that Akio is interested in the planetarium and not like...actual stars. Is he only interested in what he can control? IN a planetarium, the constellations and comets and planets and galaxies you WANT to see are what show up on the screen. It’s about as “real” as VR. It may be feel like a night sky, but it ain’t, at the end of the day, it’s just a fabrication. Anything Akio sees in the stars is just a story he’s telling himself, created the way he wants to hear it. 

JUST, AS I SUSPECT, LIKE UTENA’S PRINCE STORY. 

Please note I haven’t seen anything past this and am watching spoiler free! Please don’t confirm, deny, or explain anything to me! Even if I should be able to figure it out based on past episodes! Even if it’s cultural! Even if there is no answer! It ruins it for everyone when I get spoiled!

[sneakystorms]

I’m compiling my “reading campbell as an utena fan” reblogs into one post cuz that was getting ridiculous. 

Literally no one asked for this but i took Campbell’s hero with a thousand faces out of the library and I’m going to note anything that reminds me of revolutionary girl utena. Here we go

Literally the first thing in the book, a picture of medusa’s head. I’m suddenly reminded of how much emphasis there is on anthy’s coiling locks of hair as well as her eyes. I read in a liveblog that it’s significant kanae was struck by seeing anthy’s eyes when she removed her glasses - the glasses serve as a protective measure meant to conceal anthy’s emotion, but also her power. Reminds me of how modern reimaginings of medusa always wear dark glasses to not turn people to stone.

Page 7, on unsolved childhood issues: “we remain fixated to the unexercised images of our infancy, and hence disinclined to the necessary passages of our adulthood” It’s not very revolutionary to suggest that this is one of the main themes of the show; akip remains in his adolescent state of having left behind his childishly idealistic self (or rather been forced to leave it by anthy) but refusing to progress to true adulthood, choosing rather to fruitlessly chase that childhood state. Other characters are guilty of this too, of course, but it’s less striking because they’re actual adolescents - this is a somewhat expected (though Campbell wpuld argue, not natural) stage in their development, whereas akio is clearly past his due date and dragging everyone down with him.

Page 30, on myths and fairy tales - “typically, the hero of the fairy tale achieves a domestic, microcosmic triumph, and the hero of myth a world-historical, macrocosmic triumph” Not super relevant to rgu itself, but I’d often wonder about the relationship between myth an fairy tale, seeing as rgu relates heavily to both. Utena’s revolution, in the end, is microcosmic - she helped a friend, and achieved a higher degree of self awareness than before.

Page 32, on the world navel: “the torrent pours from an invisible source, the point of entry being the center of the symbolic circle of the universe, the Immovable Spot of the Buddha Legend, around which the world may be said to revolve. (…) the tree of life, i.e., the universe itself, grows from this point. It is rooted in the supporting darkness; the golden sun bird perches on its peak; a spring, the inexhaustible well, bubbles at its foot. Or the figure may be that of a cosmic mountain, with the city of the gods, like a lotus of flight, upon its summit, and in its hollow the cities of the demons, illuminated by precious stones.” WHEW. Where to even begin. In the context of ohtori this would obviously be the gate in the forbidden forest, and the arena itself. There is a spring of sorts at its bottom (even a wall of water), and a bird figure features at the gate. The arena with its staircase resembles a rose, which is close enough to a tree. You could even see the black rose’s basement as the demon hollows.Of course, we eventually find out that it’s all fake, a stage set by akio with anthy’s help, which in this context positions akio as a sort of false god.

Page 35, again on the world navel: “wherever a hero has been born, has wrought, or has passed back into the void, the place is marked and sanctified. (…) someone at this point discovered eternity. (…) the one who enters the temple compound and proceeds to the sanctuary is imitating the deed of the original hero. His aim is to rehearse the universal pattern as a means of evoking within himself the recollection of the life-centering, life-renewing form.” This one mostly caught my attention because of the word eternity, but then i thought of dios’s grave… Since his grave, the arena and akio’s planetarium are really one and the same, it could easily follow that anyone who enters it is seeking to emulate dios, or the prince archetype in abstract. This certainly applies to utena and akio, and perhaps other duelists as well to some extent.

OH WE GETTING TO THE TASTY PART NOW…… ANTHY TIME BITCHHH ITS THE MEETING WITH THE GODDESS CHAPTEROk immediately I’m struck by the phrase “the queen goddess”. I know akio says he thought of anthy as a goddess once, I’m trying to remember if anyone ever refers to her as a queen… she’s mostly seen in context of the princess-witch dichotomy but once you really get down to it it’s more complicated, like is the rose bride basically the epitome of the princess archetype? It does include hyperfemininity, victimhood, obedience, passivity and power that can be obtained by marrying her but which she cannot wield herself… but the rose bride role is also explicitly tied to the witch, since it’s anthy’s punishment for imprisoning dios… It’s also interesting how despised she is - the princess role is supposed to be respectable (especially if we connect the princess witch dichotomy to the Madonna whore complex) but anthy is constantly mistreated and degraded - which, yes, makes her more of a princess in Utena’s (and the viewer’s) eyes, but is also a direct result of her role as the rose bride. If the rose bride position is basically the dragon that the prince has to save the princess from then can the rose bride be synonymous with the princess?Wait I was originally going to talk about something else I think. Well anyway I guess the Ockham’s razor is that the narrative had to make sense somehow and couldn’t JUST be metaphors but. Idk man food for thought. Maybe the rose bride as a role is supposed to be a blend of the princess and witch traits, or maybe it’s meant to showcase how the two are just different sides of the same coin. Anyway I’m one sentence into this chapter and my bedtime is in 7 minutes

Campbell describes the two types of goddesses as representing the good mother - forever youthful, beautiful and kind - and the bad mother - split here into four types but generally cold and distant. I’m tempted to connect the two to the princess and the witch (or the Madonna and the whore) but Campbell explicitly connects the bad mother to Diana and emphasises her chastity, when sexuality is such a big part of both the witch and the whore… hmm

K it’s late so I’ll continue sometime else but I wanted to mention that this whole thing was a result of reading this fantastic essay on anthy and specifically the part about Campbell’s goddess

Page 97, still on the goddess: “woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know. As he progresses in the slow initiation which is life, the form of the goddess undergoes for him a series of transfigurations: she can never be greater than himself, though she can always promise more than he is yet capable of comprehending. She lures, she guides, she bids him burst his fetters. And if he can match her import, the two, the knower and the known, will be released for every limitation. Woman is the guide to the sublime acme of sensuous adventure. ” This is the passage quoted in the essay that inspired me… The part about transfigurations is painfully reminiscent of anthy for sure, but the “she can never be greater than himself” sounds more like utena to me, makes me think of that digibro quote about how romantic interests in self insert power fantasy shounen anime (either Sao or asterisk war in this case) are often supposed to be the second best warrior right after the number one hero because they’re a sort of status symbol but of course can’t undermine the hero’s ego. Similarly akio wants utena at her strongest and only wants her because she is the strongest but still wants her beneath him. Also the phrasing of “the knower and the known” is so telling…. Even if a woman is meant to signify great knowledge it’s still in a way that makes her something passive, an object for the hero to consume. This reminds me of the born sexy yesterday video where he remarks on how even if the female character is supposed to be impossibly wise it just means the male hero is the one who gets to “discover” her

Page 99, still on the meeting with the goddess: “and when the adventurer, in this context, is not a youth but a maid, she is the one who, by her qualities, her beauty, or her yearning, is fit to become the consort of an immortal. Then the heavenly husband descends to her and conducts her to his bed-whether she will or no. And if she has shunned him, the scales fall from her eyes; if she has sought him, her desire finds its peace” God, what a creepy and accurate way to portray utena and akios relationship. He sees her as worthy of becoming his bride, he rapes her, he almost has her serve herself to him on a golden platter until she decides to pick up the sword and fight him. He sees himself as her god.

desktop is really fucking this up depending on what device i rb on but alas. lets continue. surprisingly enough i don’t have much to say about the woman as temptress chapter in relation to anthy because now that i think about it, the men of ohtori don’t really see her as one? nanami does, and maybe kozue too, but anthy generally isn’t very proactive when it comes to romance or sex… I guess Miki would be the closest example, since she seems to consciously try and get his attention by playing the piano, but Miki is pretty oblivious to it, so.Trying to think of other characters who might fit that trope… Kozue does act pretty provocative both towards the random dude she flirted with and Miki, but their relationship is one I don’t have much of a grip on tbh. Really the tempting spotlight is pretty firmly on Touga and Akio in this show haha

reading the “atonement with the father” chapter and, like, it’s kind of annoying how much the male hero is the default in this book, with the female hero only an occasional mention, but it does remind me of anthy’s incredibly fucking disturbing line about how akio is “more like her father” since their parents are nowhere to be seen. i don’t really have anything profound to say, but it is pretty interesting that parents are such a non-entity in rgu, given how prominent the mother and father figures are in psychoanalysis and archetype theory. should akio be read as anthy’s father, acting as one in the absence of the real thing, the same way he acts as the chairman? i’m not super familiar with the electra complex theory, but if the resolution to the oedipus complex is letting go of the unhealthy attachment to to mother and reconciliation with the father, i guess the analogous resolution to the electra complex would be letting go of the father? which anthy, in this reading, does do… but then again in rgu it’s akio who rapes anthy and we see him rather than her initiating sex so i doubt the writers had uncritically reproducing freud’s theory in mind

nothing too insightful but in the chapter the magic flight campbell talks about a welsh myth about Caridwen and she seems like a perfect witch character

page 209, on freedom to live - campbell quotes the end of the grimm brothers’ little briar rose, but precedes it with “When the Prince of Eternity kissed the Princess of the World, her resistance was allayed”. the phrasing of course caught my eye, but i’d never really seen anyone go in depth about the similarity between sleeping beauty and utena’s childhood story… the shadow-faced version that sometimes appears at the start of an episode omits utena sleeping in her coffin, but includes the prince kissing her tears away - something that did happen in the ep34 flashback, but was not what made baby utena get up. i suppose i don’t have anything terribly profound to say about the relationship between rgu and sleeping beauty, aside from some similar elements - the sleeping princess kissed awake by her prince, the princess in the grimms’ version being called briar rose, and the unspecified thorny bushes possibly being roses as well… and the witch, of course

page 259, matrix of destiny. “The universal goddess makes her appearance to men under a multitude of guises; for the effects of creation are multitudinous, complex and of mutually contradictory kind when experienced from the viewpoint of the created world. the mother of life is at the same time the mother of death; she is masked in the ugly demonesses of famine and disease. The Sumero-Babylonian astral mythology identified the aspects of the cosmic female with the phases of the planet Venus. As morning star she was the virgin, as evening star the harlot, as lady of the night sky the consort of the moon; and when extinguished under the blaze of the sun she was the hag of hell” campbell continues to insist on tying every female character back to the mother, which doesn’t really seem to be very relevant with anthy, but i’m digging the various aspects of the woman. seems interesting to me how this is at least the second time he’s characterised the woman in myths as someone constantly changing roles and aspects (first time was on page 97) whereas i don’t really see this tendency in male characters. women seem to need to constantly adapt, shift their identity to suit the male character, who is allowed to remain stably himself. also fascinating are the particular archetypes campbell brings up - the virgin (princess), the harlot (rose bride? the position does seem to be given respect on some level, but in practice she doesn’t get much... add to that the design elements tying her to the “scarlet woman”, and possibly even the playboy bunnies, and her duties do seem to include sleeping with every Engaged if the movie is anything to go by), consort of the moon (we all know what akio and anthy’s connection to the moon...) and the hag of hell (witch)

this has very little to do with rgu but reading the Mwuetsi/Massassi myth kinda makes me sick lol!!! not only does it include the first man being given a woman but he symbolically impregnates her with some oil from a horn (subtle, also done without her knowledge since she was asleep) and she gives birth to all the plants on earth. ew

UH OK HE THEN GOES ON TO SLEEP WITH HIS DAUGHTERS.... AND THEN TO RAPE HIS NEXT WIFE.......... MR CAMPBELL CAN I GO like i know it’s old myths so it’s all symbolic or whatever but that doesn’t make it any easier to read lol

page 296, an offhand comment of “The characteristic adventure of the first [type of hero] is the winning of the bride - the bride is life” and my brain automatically supplied “life... eternity... that which shines... the power of miracles... the power to revolutionise the world” LMAO

[fabrickind]

Revolutionary Girl Utena Episode 3 Liveblog

Join me this week for episode 3: social anxiety, heteronormativity, authenticity, and schools with way too much goddamned money for their own good.

This one starts again with the fairytale framework, which was missing in episode 2. I’m making a note of this because I’m going to keep track of which episodes have this opening and if there are any similarities between them. inb4 ‘this is the episode where Nanami is introduced and that’s why there’s the fairytale since her episodes tend to have that opening

For this episode, I think it’s a combination of things. One is the somewhat obvious answer that we, as an audience, need to be reminded of this backstory. I think that it also speaks to the themes of this episode, though, in reminding us that Utena’s goal is to become a prince. Of course, as we come to find out, both the flashback and the goal of becoming a prince are false ideals, and the brilliance of this show (as I keep saying) is that it outright tells you this from the start, but in a way that makes you want to take it at face value. We will keep this idea in mind throughout this episode -- everything is precariously constructed, there’s a lot going on behind what we actually see, but we’re cued to take it all so earnestly, at face value.

And here we introduce one of Utena’s major concerns for the first arc: Anthy has no friends! We should give her some friends!

On the questions raised last liveblog about whether to take Chu-chu at face value or not, I think that we should take Anthy’s assertion here fairly literally, and this is one of the few times that I think I’m going to advocate taking anything in this show literally. I think that Chu-chu is her friend.

This exchange is interesting to me

Utena asks Anthy to stop calling her “Utena-sama,” and all of Utena’s fangirls call her that, but Utena writes it off as “a joke.” This scene seems to be calling attention to a weird sense of performance going on here. For the fangirls, it may be a joke on the surface level, but there seems to be something more authentic underneath that, especially considering that they all do it and that it seems to be a recurring thing. Oh, and Wakaba exists, of course. I’m not sure if this is Utena wanting to think that the probable actual thirst of the schoolgirls is a joke, or if it’s seen as a joke on all sides but they’re actually quite parched.

With Anthy, this seems almost inverted. Sure, she’s completely serious about being the Rose Bride. But she has no actual respect for Utena at this point, and while on the surface it may seem like she’s being deferential to her fiancee, deep down, she’s simply performing a surface-level role. It’s much more a “joke” to Anthy than it is to the fangirls.

(On a side note, my browser is flagging “fiancee” [the feminine form] as possibly incorrect spelling when I place “her” in front of it, but if I place “his” in front of it, it doesn’t. I get what it’s doing, but it’s still quite the heteronormative spell checker!)

Speaking of heteronormativity

Throughout this series, especially early on, “normal” and “heteronormative” seem to fully converge. Here, Utena wants to be seen as perfectly feminine (despite her clothing choice and fiancee) and as, more importantly, straight. To her, “normal” means “wants a boy rather than a girl.” Yes, there’s shades of “this whole dueling system is weird and I’d rather have a lover I met in an everyday way than someone I accidentally won in a duel” but I feel like the emphasis is placed on the gender of the love object here, and on Utena fitting into a model of heterosexual femininity.

Of course, no one believes her. At least, I don’t. The way to seem “normal” isn’t to parade around in a so-called “boys” uniform and declare your desire to be a prince. Her actions are seriously at odds with her words here.

  And then this asshole shows up.

That hair says otherwise, Touga. That’s major character hair right there.

And Utena provides one of her better reaction faces at what has to be one of the worst pick-up lines in anime history.

[insert joke about Anthy knowing him in the biblical sense]

(Though maybe that joke is more appropriate for the movie, where that’s actually a major plot point)

I wish I could edit out the snippet of video where Touga tries to play with Utena’s hair and she slaps him away and dramatic music plays. Everyone in this series is so extra and I love it. 

Oh no! Touga is wearing the ring! We have to go from “this guy is a total fuckboy who deserves to be slapped” to “could this guy be my prince?????” in the span of a few seconds! I guess Utena being the most oblivious character ever is part of her charm, though...

[insert joke about how Touga definitely means it in the biblical sense]

In this Student Council meeting, Miki uses the stopwatch almost right away, after Touga says that Saionji lost again. I think he’s timing when his own line should be. As per last episode, Saionji himself is still not present. Also still no weird antics at the meetings.

Anthy slap count: 3 For those participating in the drinking game ;]

So the latest Anthy rumors are about “what she did to a popular boy” (Saionji), which...middle school rumors often get things wrong, yes, but this is also the role of the Rose Bride. She’s taking on the blame for everything that went wrong, even if Saionji is the one who was an abusive asshole and is now being dramatic and refusing to leave his room.

This does make me think, though...do you know? do you know? Doesn’t that sound like the start of someone about to share some juicy gossip? I wonder how much of the Shadow Girls plays are basically the level of highly allegorical, surrealist rumor, and if we should take them as such?

I am a firm believer in the idea that Nanami is the only other character in this series who has the potential to be a protagonist, only she’s the protagonist of the wrong show (that and she doesn’t interact with the system in the way that Utena does, which is what allows for Utena to make it to the end of the dueling game). (I never said these liveblogs were spoiler-free :P) I think that her introduction here is an indicator of that -- she’s introduced in much the same way as Utena is, only without quite as much pomp and circumstance to her unveiling. There’s a strong visual parallel here, though, and to my memory, the only other character to be given this type of introduction. That is, she’s given the slow tilt up her body, starting at her feet, with the spinning rose frame, much like Utena was. Other characters may have the rose frame, but not that same level of “self-important theme music and the slow reveal of the character” that Nanami is given here.  (I know Juri has her very sad theme music mostly used in highly emotional moments, Anthy has theme music but she’s a more major character, Miki sorta has theme music but it’s mostly used in other places...do Touga and Saionji have theme music at all? Do any other side characters have theme music to the level of Nanami? Maybe Nemuro [not Mikage]? It seems as it it plays almost every time there’s something related to her on screen.)

I always go to beat up girls I don’t like with the school’s Forbidden Forest™ in the background.

Actually, I wonder if this is some sort of really weird foreshadowing -- that’s where the dueling arena is, and this is pretty much a cropped (and daylight) version of the shot that opens the Shadow Girl plays for this arc. I’m probably reading too much into it and it’s just a nice, convenient location to get into fights at. You know. In front of the big, ominous forest that all schools have.

The editing and angles in the next scene are nice -- of /course/ Anthy is playing cards with Chu-chu and Utena is just sitting in the corner, stewing. Isn’t this how most friends spend their evenings?

That is exactly the reaction I have to all of the party dresses in this episode.

Utena insisting that Anthy go to the ball and make lots of friends is an interesting moment for me

There’s that fake Anthy smile we all know and love.

I can’t remember my first watchthrough of the series and how I reacted to this particular moment. I wonder how many first-time viewers (who don’t yet realize just how complicated Anthy is) take this response at face-value, and how many realize that Anthy is quite literally obeying orders here, even if Utena didn’t intend it as such?

This scene seems to really align us with Utena’s perspective, though, in wanting Anthy to go and make friends, and having us feel sorry for Anthy for being shy, not for...well, being the Rose Bride and having been abused and tortured her whole life. Utena is trying to make Anthy into that perfectly normal girl that she so desperately wants to be herself, and is coming at this from the perspective of having average problems, not highly symbolic magical problems.

The Shadow Girls play here is a bit obscure. On the surface, it’s about how the ball is just an excuse to catch a man, and how the girls are shameless for wanting to do so, and yet our actors move back and forth between playing the town gossips and actually participating themselves as the prince and princess archetypes. That all seems relatively straightforward -- words not lining up with actions, judging others but having the same desires (even if someone queered by the fact that the prince is one of the same actors as before), setting up what happens between Utena and Anthy as explicitly romantic.

But why are there two dogs? There’s one dog when the SGs are playing the town gossips, and then two dogs when they’re the prince/princess at the ball. 

Another question of “just how rich is this school?”: they sure do seem to have a /lot/ of fancy dress parties. No industrial-looking cafeterias or gyms strewn with cheap steamers and girls in JCPenney dresses here. Nah, we have classical music and champagne. I bet the tuxedos the boys are wearing are ones that they own, not even rented.

On the point of the fangirls “joking” about calling her “Utena-sama”: clearly, they’re all /hella/ thirsty. I don’t think they’re joking as much as Utena wants to believe they are.

Yes, Utena. Yes it is.

Besides being one of the best visual representations of social anxiety I’ve ever seen,

this is also something to keep in mind come episode 34. As we get more information about her backstory, this comes to be a surprisingly authentic reliving of trauma for Anthy, and not just a display of anxiety or shyness for its own sake.

I’m actually fascinated by these moments, since they seem to be one of the few places, especially this early on, where we are allowed to see something authentic from Anthy rather than the mask she wears. Of course, we don’t realize it yet. I wonder how much of this is her allowing the mask to come off for a bit, and how much is that her trauma is too difficult at this moment to keep hidden? She does a very good job of hiding it the rest of the time, so it’s interesting that we get this scene. Or is it simply a performance of trauma, and not authentic at all?

Back to shitposting: Yuuko is the only one in the entire goddamned episode who has a passable dress.

I’ve actually looked to see if there’s a fabric that dissolves in alcohol, and the closest I can find is a rare type of rayon that dissolves in a combination of alcohol and...something else, ether maybe? It’s been a while since I’ve looked it up. Still very impractical for a garment, and nothing is going to dissolve that quickly unless that dress was made of rice paper or something.

Though, it’s mostly to give Utena an excuse to act the Prince and save her girlfriend from being humiliated and naked in front of a bunch of strangers.

I love these kinds of early series pranks, though. I feel like as we get further into the series, the whole thing becomes almost like a giant prank somehow (the cars. the cacti. the severe shortage of men wearing shirts.), but all of the problems are very serious and heavy, so it’s interesting to see the early episodes seem to take themselves so seriously and yet all of the problems are things like “someone spilled wine on someone at a party.” 

I would do the [insert obligatory joke about how she was wearing the uniform underneath that dress somehow], but that’s not actually what happened here. She’s not in her school uniform. She had her magical girl transformation. 

Of course, this is to visually set up the idea that she’s acting as the prince here. But it begs the question: whose powers cause her transformation to happen? Does this solve the mystery of why only Utena seems to get a transformation, no matter who is in possession of the Rose Bride, if those powers are somehow inherent to Utena, not to Anthy? And if so, what would that mean for the framework of the show?

Cosplay goals: make the tablecloth dress actually out of a tablecloth. Is it possible? No. But I can try.

Actually, the quick change seems to be another magical girl transformation, rather than an actual outfit. ~Suspension of disbelief~ is overrated.

And our main ship is established. Now, for the delicately constructed life of these two to come crumbling down over the course of the next 35 episodes once we learn more.

That concludes this week’s liveblog! Congrats if you made it to the end, as usual. Next Sunday (July 2nd) is the scheduled date for our next liveblog. 

A quick closing note, since I never actually talk about the next episode bits unless they’re somehow important -- it seems significant that Utena mentions that Miki has only fought one duel before this, but I can discuss that next week. Or, probably, the week after.

[some-triangles]

PART 4

Utena has turned into a car.

I think it is incumbent on the viewer at this point to try to unravel both why this makes sense as a gesture and why it seemed like a good idea at the time.

Point 1: It’s a magical girl transformation sequence.  Ikuhara, having worked on Sailor Moon, knows all about this stuff.  The beats of a transformation sequence are as follows: upon activation of an arcane device, a girl loses all her clothes and emerges clad in fetish gear.  The ideal transformation sequence from a commercial perspective ends up with a girl wearing an outfit which appeals as much to young girls as it does to grown men.   As has previously been established, grown men like cars – but this car is hot pink, shaped like a uterus and is trying as hard as it can to be a horse.  Or two horses.   It is a “car” in the same sense that Sailor Moon is a “high school girl”.   It has been optimized to serve all of the needs of the academy at once.

Point 2:  What we are dramatizing here is the fact that despite her avowed wish to leave the academy Utena has still been socialized in patriarchy and therefore cannot fully transcend her status as a player of the academy’s game.   When she took Anthy’s hand and led her in the general direction of “out” she was still playing prince, saving the damsel in distress.  This gesture does not work because the academy owns it.   When she attempts it, she is revealed as what the academy forces her to be: an object.  An exciting, ambiguously-gendered object, admittedly, an object which is absolutely up to date and this year’s model, but an object that is nonetheless made to please a particular audience.  As long as Utena can still be the receptacle of male fantasy – as prince or princess – the story cannot work.

Point 3: Back in the old academy Anthy’s role in the final confrontation was to get stabbed a whole lot and lie in a coffin.   Of course, something important and transformative did take place there, and the gesture that changed the academy did come from Anthy in the end; but she didn’t look cool doing it.  Utena did all of the on-screen work.   If Anthy is retelling the story here she wants to emphasize that despite all of Utena’s princely self-sacrifice the most difficult thing anyone did in that room was reach out of that coffin.  She also wants to emphasize that she’s the top.

Akio killed himself earlier because he was unable to find his “key”.  He lost it when he realized that Anthy was, if not enjoying herself, at least tacitly “consenting” to what he had been doing to her, which was, as far as he was concerned, not nearly as hot as the whole drugged princess routine. Anthy, however, already has Utena’s key. Get it?  What we are emphasizing here, in case anyone got the wrong idea from the TV-mandated chasteness of the original series, is that queer desire is actually an integral part of the revolutionary moment.  Anthy is able to go through with this because she really, sincerely wants to fuck Utena’s brains out.

So Utena’s sex car is saved from rusting away from disuse.   The shadow puppet girls arrive to give Ikuhara’s old buddy Anno a shout-out and the race is on.

It’s worth considering whether there might have been a way to do the car metaphor without going full bananas zany with it – whether we might have found some kind of tonal harmony between Touga in the cabbage patch and Anthy in the driver’s seat.    It would probably not have worked but I would have loved to see an attempt.  As it is, the narrator has gone manic and we are flying, buddy, we are up in the clouds.

The shadow puppet girls (who apparently all have pink hair in this universe – emphasizing their artificiality, I suspect) complete their setup and a new challenger enters the race.

Shiori’s car looks kind of like Soundwave from Transformers.  I always liked Soundwave.  Her car is also considerably more phallic than Utena’s, having as it does a cycloptic bull for a figurehead.   Shiori is acting as an agent of the academy here simply by making this a race, rather than an obstacle course - the idea that only one special person gets to leave the academy at a time plays right into the prince/princess narrative.  It’s not a part of the story that Anthy particularly wants to dispel, either, which may be telling.

Shiori says the line of century, which I’m going to render literally for maximum effect: “It’s a big mistake to think that you were the only one who was able to turn into a car.”

Behind the bull Shiori is a big ol’ Chrysler station wagon with frilly upholstery. She underscores the crabs in a bucket motif by saying that only she is cool enough to do something as neat as escaping the world before crashing into a retaining wall and exploding in a completely unforced error, which makes sense when you consider that nobody’s driving her.

Anthy has a nasty sense of humor.

Next up are the thousand drone tanks of the world’s resentment.  The jokes are flying thick and fast now – the shadow puppet girls pick up the encroaching horde on a “vegetable scanner” which superimposes the danger on a picture of a salad, and the three filler dudes who were so fillery that I never mentioned them once in my recap of the original series show up with radar guns. The drone horde also makes a lot of really high-pitched honking sounds.  The director wants us to know that he knows that this is stupid.  The viewer may well ask what all that trauma from before was about, in that case, but there’s no time, the drones are attacking.

Utena’s chassis is effed up in much the same way that her uniform was back when she fought Touga that one time.  Like the opening theme says: “what I want is to find my place in life and my self-worth, taking who I've been up until today and heroically stripping her down until she's bare, like the roses whirling in freedom.”  Cast off that magical girl fetish gear, and be free!  And nude. While we continue to film you.  Trust us, it’s all very liberating.

Just as our heroes are about to be splatted by the biggest drone of them all, a tow hook shoots out from nowhere.  It’s our heroes’ friends!   Or… people who we can assume they made friends with, off screen, at some point!

Ikuhara shouting in the distance: “Oh, the whole bandminton game thing was too subtle for you, huh?  Need to have everything spelled out for you, huh? FINE”

They are driving Wakaba, a Jeep.  (The utility vehicle is truly the plain friend of the motorsports world.)  Explaining their presence, Juri says that high ideals attract noble companions. (I like overtly conceited Juri, and wish her incarnation from the original academy had had a little bit more of that going on.)  Miki tells Anthy that they will definitely follow her outside at some point.  I do not believe him.

The final challenge approaches.  It’s a giant Disney castle on wheels.

Thanks, Ikuhara.  I am beginning to see a Point 4 emerging to complement points 1 through 3 above, straight from the director: “If I make this as shiny, noisy and overt as possible, maybe you idiots will pay attention this time.”

The castle hoves massively into the lane in front of them as somewhere in the distance the bongo player goes nuts.   The shadow puppet girls implore Anthy to turn around and head back, but she’s not running anymore.  Suddenly, the car is wearing a dress.  Car Utena gets a secondary transformation - like, that wasn’t even her final form – like, you got your DBZ in my Sailor Moon, you got your Sailor Moon in my DBZ – like, we are now somehow even more uterus-shaped –

The extended dance mix of Rinbu Revolution starts playing, and let me just say that it is an incongruous choice for a car chase/demolition derby.  Anthy makes it through the castle, to general rejoicing, but there remains one final obstacle.

Point 5: to make all this masculine bullshit appear as silly as possible.

Akio tells Anthy that if she goes out there all she’s going to find is the end of the world.  Which is true, of course – the point of the whole castle palaver, the point of all this fetishizing of youth and innocence, is to keep death at bay.    If you can’t grow, you can’t die; but of course if you can’t grow, you can’t live, either. 

Akio tells Anthy to go back to being a living corpse.  (He can’t find his key, otherwise.)  Anthy tells him to fuck off so he squeezes them between some giant tank treads.

 Utena there, getting denuded again, of course.

Then this happens.

The prince is very, very dead.  The castle collapses in a hail of rose petals and eurodisco.  The shadow puppet girls lose their animating essence and become straw dolls named “Tenjou Utena” and “Himemiya Anthy.”  Cause they were puppets the whole time, see?

“Real” Anthy and “Real” Utena chat about how there are no roads in the outside world and so they will have to make one themselves.  They say this as they are literally driving on a road.   Still on screen and still being filmed, the two girls recline naked on a speeding motorcycle and make out, as you do once you have been freed from the male gaze.  

We end on a shot of another castle in the distance, which seems like a hopeful sign but should be the most ominous fucking thing in the world, if you’ve been paying attention.

The only possible conclusion is that they have not actually escaped.

In the end I can only interpret the last act of this movie as a titanic shrugging of the shoulders, an admission of a failure to envision what escape from this milieu actually looks like.  In this failure it invited other authors to take a crack at the same problem using the same kind of symbol language, which is how we got Madoka and its “let’s reframe choosing to be the Bride, who is still absolutely necessary to the functioning of the universe, as a revolutionary act in and of itself” thesis, among other things.   Ikuhara has a lot to answer for.

The problem of course is that a genuine escape from the academy should probably not be written by someone who has a vested interest in the academy’s continued existence; and so I think if anyone does end up writing the Utena story with an ending that works, it won’t be Ikuhara, or, not to put too fine a point on it, dudes generally.

Then again it’s possible that outside the academy there are things besides writing and rewriting the same old story to worry about.